The love affair between architecture and film has been well documented. From huge breathtaking sets to small spaces for intimate conversations, the architecture in a film often plays as strong a role as any character in translating the director’s vision to his/her audience. In constructing the environments of their narratives, the great filmmakers could even be considered architects in their own right—that's the claim presented in this video from the British Film Institute, which looks at the work of celebrated director Jean-Luc Godard and how the architecture in his films transforms to suit their tone. In pictures such as À bout de souffle (1960), Le Mépris (1963) and Week End (1967), Godard uses streetscapes to convey optimism or pessimism, uses walls to emphasize the emotional distance between lovers, and even includes a cameo from the particularly photogenic Villa Malaparte. Watch the video to learn more about the techniques used to achieve these moods.
From Cafés to the Casa Malaparte: Architecture in the Films of Jean-Luc Godard
Cite: Patrick Lynch. "From Cafés to the Casa Malaparte: Architecture in the Films of Jean-Luc Godard" 16 Apr 2016. ArchDaily. Accessed . <https://www.archdaily.com/785536/from-cafes-to-the-casa-malaparte-architecture-in-the-films-of-jean-luc-godard> ISSN 0719-8884
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