Dear fair Auteurs readers/commenters:
I’m working on a film theory essay. It’s theoretical launching pad is Kubrick’s 2001, and concerns itself with space, the art object, and the tool. I’ve read much film theory, and much philosophy, and have seen many films, but am intrigued at how a form such as The Auteurs could lead me to discover works of criticism, of filmmaking that I would not stumble upon otherwise. What I am looking for is any essays, book recommendations, and film recommendations that appear to bring into discussion this idea of “spacial experience” and film’s relationship to the art object. The kind of dialogue I’m looking for, to choose a very basic example, is the kind you might find in comparing the situation (as in, its placement) of the violent act in the abandoned-theatre scene of Clockwork Orange with that of the infamous bedroom-scissors-oxygen-mask scene of Lynch’s Blue Velvet. The way each filmmaker uses space, especially in the context of the cinema room (in which the film is projected from behind, in which all but the screen is in darkness) is what intrigues me. But that is just an example—I’m looking for examples of this in other films, in other writings.
Okay. Thanks everyone. Ready, shoot!
how about the way hitchcock uses space in “the 39 steps”, with its climax literally on a theater stage. or “the man who knew too much”, with its climax surrounding the stage of an opera hall. the latter example would give you plenty to analyze regarding space and montage.
If you want to study cinematic space, I think D.W. Griffith and Fritz Lang are a great place to start, obviously in that order.
I don’t know if this helps, but Yasujiro Ozu is considered one of the pioneers when it comes to working with “offscreen space”. You may want to check out a film or two, and see how he works with space. His camera always stays still, and he often has actors moving in and out of the shot during the scene. “Floating Weeds” has some great examples of this.