Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors runs an exclusive column for ArchDaily that analyzes and diagrams films in terms of space.
The Golden Age of Television has made way for shows that run counter to the traditional, expected narrative model. In the course of its five-year run, Breaking Bad has effectively transformed its protagonist into an antagonist, placing its hero/anti-hero in a distinctive landscape. In this sense, the use of space and location in Breaking Bad, filmed in Albuquerque, is noteworthy, from the use of actual locations that serve as the backdrop for businesses (car wash, Los Pollos Hermanos) to constructed sets that are used for characters’ homes (Walter White’s house, Jesse Pinkman’s house).
In our analysis, we focus on the three different spaces where Walter White (Bryan Cranston) and Jesse Pinkman (Aaron Paul) cook meth: the RV, Superlab and makeshift labs across Albuquerque. These spaces, much like the character of Walter White himself, a chemistry teacher who uses his teaching as a cover for his new life as a drug lord, disguise themselves with their exterior appearances, blending into their surroundings.
Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors runs an exclusive column for ArchDaily, analyzing and diagramming films in terms of space.
The rise of the director in music videos came in the early 1990s, when MTV started crediting directors alongside artists and song titles. The influx of visionary directors such as Michel Gondry, Spike Jonze and David Fincher emphasized that music videos were becoming an auteur’s medium, much in the same way as film. The shift from stylized and performance-based music videos into narrative-based works, however, came much later, as the medium became more “cinematic” in its look and narrative structure.
Justin Timberlake’s music videos similarly parallel this evolution. His earlier works have always focused on locations and space, his choreography and the physicality of his performances. In “Cry Me a River,” we follow his movements through various rooms in a house. In “Rock Your Body,” his choreography and performance is the center of attention as he is surrounded by lights in an enclosed space. In “My Love,” we see the contrast of black and white while focusing on the vastness of empty space. However, the narrative-based music video for “Mirrors,” from his long-awaited album, The 20/20 Experience, marks a departure for the artist.
Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors will run an exclusive column for ArchDaily, analyzing and diagramming films in terms of space.
If cinema is a matter of what’s in the frame, David Fincher is an artist who is very much concerned about all four corners of his canvas. In his career, visual effects have always been at the forefront of his films, but his later works have also showcased his level of maturity as a storyteller. In Zodiac (2007), The Social Network (2010) and The Girl with the Dragon Tattoo (2011), visual effects play an integral role in the advancement of the story, as Fincher explores the relationship between visual effects and space.
The spaces we analyzed decrease in size with each film – an entire block in Zodiac, a business establishment in The Social Network and a single room in an apartment in The Girl with the Dragon Tattoo. In each instance, we are dealing with spaces that depend on an effect of some sort.