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Relevant bibliographies by topics / Architecture and Cinema

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Dissertations / Theses

Academic literature on the topic 'Architecture and Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Dissertations / Theses on the topic "Architecture and Cinema"

1

Thomas, Nigel Richard. "Discursive intersection : cinema, text, architecture." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/23463.

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2

Nakagawa, Iki. "Cinem-a-crobatic : trans-active cinema production in search of urban schizophrenia." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/69371.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.<br>Includes bibliographical references (p. 42-45).<br>On December 15, 1996, from 1:30 to 4:30, cinem-a-crobatic was formally presented at Columbus Park, New York City. The park is located at the intersection of China town and the Federal Court district. cinem-a-crobatic attempts to amplify the complex and shifting relationship between the urban landscape and the experience of its inhabitants, through the introduction of a new form of urban cinema production. Unlike most conventional cinematic productions, ci

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Pan, Pengkai 1972. "Mobile cinema." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28777.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.<br>Includes bibliographical references (p. [157]-161).<br>This thesis develops techniques and methods that extend the art and craft of storytelling, and in particular enable the creation of mobile cinema. Stories are always constrained by the medium in which they are told and the mode by which they are delivered to an audience. This dissertation addresses the design of content, systems, and tools that facilitate the emerging type of computational audio-visual n

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4

Majoros, Michael A. "Truth and lies in cinema verite." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/75983.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH<br>Includes bibliographical references (leaf 48).<br>1985 in partial fulfillment of the requirements for the degree of Master of Science in Visual Studies. This thesis consists of two sections: Truth and Lies, and the making of Everything Must Change. Truth and lies traces several developments made in the evolution of the documentary cinema (both technological and ideological) and explores their effect upon the manner in which the world before the camera has

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5

Lee, Weifeng Victoria. "Detour : Los Angeles River Speed Cinema." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/57978.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 158-163).<br>We live in the culture of speed; everything is on its way to become a faster version of itself tomorrow if it is not already there today. Automobile and cinema are two inventions at the turn of the 20th Century that brought upon entirely new sensations through their unprecedented speed in both physical and representational mobility. However, more than a century later in Los Angeles, a city where cars and movies h

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6

Eriksson, André. "Views : Cinema, redefined." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229697.

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Transforming the first floor of a 1950s building at Sveavägen, Stockholm, this project aims to redefine the traditional cinema. This is not a perfect quiet black box, but a place for sharing, experiencing and discussing film. A cinema for independent films, short films, documentaries and film festivals, but perhaps also presentations and lectures. A flexible building that can open up, or close down, depending on the event. A cinema where one can sit down for a brief movement with a coffee, or spend an evening at the big screen.

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7

Mohammad, Javaheri Saharnaz. "Architecture and Film." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64804.

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Film does not exist without architecture. In every movie that has ever been made throughout history, the cinematic image of architecture is embedded within the picture. Throughout my studies and research, I began to see that there is no director who can consciously or unconsciously deny the use of architectural elements in his or her movies. Architecture offers a strong profile to distinguish characters and story. In the early days, films were shot in streets surrounded by architecture, and then they were projected on the exterior walls of buildings where the audience could come and watch. He

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8

Beck, Gregory. "The city in the image of science fiction cinema." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/71379.

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9

Schneider, Bernice K. (Bernice Karen). "Direct cinema : filmmaking style and its relationship to "truth"." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/70174.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.<br>Title of videocartridge: Harlem. Videocartridge is U-matic format.<br>Includes bibliographical references (leaves 28-31).<br>by Bernice K. Schneider.<br>M.S.V.S.

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10

Soroka, Ian Jacob. "Eroding the palimpsest : landscape, cinema and the site of history." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/99303.

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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2015.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 108-113).<br>The thesis will explore the migration of content between forms, specifically between cinema and text. By reflexively interrogating my film Dry Country, and drawing a thread through Yugoslav film history and Slovenian history (1941-present), I will map what happens when the record of what has been captured in the film's production confronts a language, be it text or montage. The p

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