Both organic cinema and organic architecture base their activities on
the idea that the image character of their medium needs to be overcome
and that creativity in their respective arts should be seen as a
sculpting of space or time.
Film director Béla Tarr, architect
Imre Makovecz, and writer László Krasznahorkai have been obsessed with
organic forms of expression for decades.
The Makovecz–Tarr link this book
elaborates on is thus based on three criteria: (1) there are
similarities with regard to the form of the compositions; (2) Tarr’s
films use architecture in a special way; (3) Makovecz and Tarr produce
organic space in a similar fashion.
Synopsis
European cinema between World Wars I
and II was renowned for its remarkable attention to detail and visual
effects in set design. Visionary designers such as Vincent Korda and
Alfred Junge extended their influence across national film industries in
Paris, London, and Berlin, transforming the studio system into one of
permeable artistic communities. For the first time, Film Architecture
and the Transnational Imagination provides a comparative study of
European film set design in the late 1920s and 1930s. Based on a wealth
of drawings, film stills, and archival documents from the period, this
volume illuminates the emerging significance of transnational artistic
collaboration in light of developments in Britain, France, and Germany.
A comprehensive analysis of the practices, styles, and function of
interwar cinematic production design, Film Architecture and the
Transnational Imagination offers new insight into the period’s
remarkable achievements and influence on subsequent generations.
——amazon.com
