Bibliographies: 'The Belly of an Architect (film)' – Grafiati (2024)

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“You’re not dancing alone in front of the mirror. They are looking at you!” Belly Dance as an Affective Strategy of Participation in Culture in Satin RougeThe article analyses the film portraits of women performing belly dancing Satin Rouge, 2002 Raja Amari. The film tells the story of awoman who after the death of her husband indulges in entertainment rather unsuitable for aGod-fearing Arab woman: belly dance in aTunis nightclub. The article focuses on dance as an affective strategy of participation in culture. Belly dance understood as aconscious work on one self and abody allows women to express their subjectivity and feel like an individual entity. Female dancing body has the power to affect — the ability to influence other bodies and to express oneself — and thus may create room for negotiation within the hegemonic discourse of men’s power over women in the Arab world.

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AbstractThis article analyzes two popular Golden Era belly-dance films, Sigara wa Kass (A Cigarette and a Glass, 1955) and Habibi al Asmar (My Dark Darling, 1958), through concepts of queer spectatorship, queer time and space, hom*oerotic triangulation, and queer containment. The analysis centers women, attends to women’s hom*oeroticism and nonnormative desires, and reads popular film as constituted by and constituting of mainstream conventions of gender and sexuality. It argues that mainstream belly-dance films made considerable space for hom*oerotic exchanges amid women. Golden Era belly-dance films reveal a rich gender and sexual diversity in Egyptian cultural production, rather than the Orientalist representation of an explicitly hom*ophobic “traditional” Arab culture. In this sense, the article recovers women’s nonnormative and queer legacies within popular Egyptian texts. It does not insinuate hom*osexuality as inherent but instead locates possible Arab cultural engagements with women’s queerness that have been overlooked.

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This article looks at one decade (1965–1975) in the history of Films Division of India (FD), the first state film production and distribution unit in the country. It tracks the changing political environment and several administrative, infrastructural, and policy changes of the time, along with the emerging “experimental” film and interview format films. Under the dynamic supervision of Jean Bhownagary, a constellation of film makers and artists like Pramod Pati, S.N.S. Sastry, S. Sukhdev, among others came to the fore, experiment with film form was encouraged, and dissonant voices rose against the state itself. I suggest that it is possible to study certain experiments and formal practices emerging at a particular time and space not as mere aberrations, but as something that emerges from complex shifts in institutional practice. I locate these as part of a layered body of film uses, a palimpsest, in which the filmmaker’s creative engagement needs to be situated in a bureaucratic order that could be arbitrary and inflexible but also provide for a regime of the permissible.

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The Venice Architecture Biennale in 2010, curated by Japanese architect Kazuyo Sejima, co-founder of Tokyo-based practice SANAA, included a remarkable twenty-four-minute 3D film by the German director Wim Wenders depicting the practice’s Rolex Learning Centre in Switzerland. Entitled If Buildings Could Talk, the film ran in a continuous loop, without a tangible beginning or end, much like the building itself. Invited by SANAA to develop the film, Wenders found himself confronted with a new type of space that he had no prior experience of, and no vocabulary to describe: ‘The Rolex Learning Centre’, said Wenders during a talk given at the Biennale, ‘is more landscape than building.’

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<p>At the beginning of 1931, a short article entitled “Film fighter from the outside” appeared in the industry magazine Film-Kurier. In the introductory sentence, the author, who remains anonymous, asks: “How does Mies van der Rohe come to film? - Not a difficult question to answer: As a person who takes a stand on the spiritual things of the time, he naturally also addresses questions of film.” But the article neither explains what Mies’s involvement with film was, nor how the architect and then Bauhaus director became interested in film. And even today the assumption of an affinity between Mies and film is anything but self-explanatory. Neither the research on Mies, nor the field of research of ‘architecture and film’ covered by architecture theorists and film scholars has so far dealt in detail with the question of a possible relationship between Mies and the new visual medium. This shortcoming can be explained above all by the fact that his buildings, drawings and published writings do not contain any direct references to film. Although he apparently was a regular moviegoer, Mies built neither cinema theaters nor film sets. Nor did he take part in film productions or wrote movie scripts. This is exactly what many other representatives of the avant-garde did in the 1920s: Hans Poelzig and Robert Mallet-Stevens designed film sets, Bruno Taut integrated film projectors into some of his buildings, built innovative “daylight cinemas”, patented a vertical cinema for reclining viewers, and wrote screenplays; Le Corbusier used film as a propaganda tool to spread his architectural and urban planning ideas.</p>

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This paper examines the use and meaning of the body-part terms or quasi-body part terms associated with Japanese emotions. The terms analyzed are kokoro, mune, hara, ki, and mushi. In Japanese kokoro is regarded as the seat of emotions. Mune (roughly, ‘chest’) is the place where Japanese believe kokoro is located. Hara (roughly, ‘belly’) can be used to refer to the seat of ‘thinking’, for example in expression of anger-like feelings which entail a prior cognitive appraisal. The term ki (roughly, ‘breath’) is also used for expressions dealing with emotions, temperament, and behaviour; among these, ki is mostly frequently used for referring to mental activity. Mushi — literally, a ‘worm’ which exists in the hara ‘belly’ — is also used for referring to specific emotion expressions. The tool for semantic analysis employed in this paper is the “Natural Semantic Metalanguage” method developed by Anna Wierzbicka and colleagues. This metalanguage enables us to explicate concepts by means of simple words and grammar (easily translated across languages), and clarifies the similarities and dissimilarities between the components involved in semantically similar terms. The data used for analysis are from various sources; published literature both in Japanese and English, newspaper/magazine articles, film scripts, comic books, advertisem*nts, dictionaries, and popular songs.

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Abstract Net zoals een kunstenaar als Michelangelo Buonarroti (1476-1564) zich profileerde als beeldhouwer, schilder, architect en poëet, laveert Matthew Barney (1967) moeiteloos tussen verschillende hedendaagse kunstvormen.Het oeuvre van de Amerikaanse kunstenaar Matthew Barney bestaat uit performance, fotografie, tekeningen, designobjecten en film. Niet toevallig werd hij in 1989 door een kunstcriticus omgedoopt tot “De Michelangelo van de genitale kunst”. Dit had niet alleen te maken met de vele naakte atletische lichamen in zijn oeuvre. De verwantschap tussen Barney (1967) en Michelangelo (1476-1564) is groter dan men zou verwachten. Senne Schrayen trekt in dit artikel een parallel tussen de lopende performancereeks Drawing Restraint (gestart in 1987) van Barney en de presentatietekeningen van Michelangelo uit 1532 vanuit een transhistorische invalshoek en met aandacht voor het maakproces van de tekeningen. Just as Michelangelo Buonarroti (1476-1564) worked as a sculptor, painter, architect and poet, Matthew Barney (1967) switches smoothly between various contemporary art forms. The oeuvre of this US artist includes performance, photography, drawing, design and film. Not coincidentally an art critic, writing in 1989, dubbed him 'The Michelangelo of genital art' and this was not just because of the many athletic nudes that people his oeuvre. The parallels between Barney (1967) and Michelangelo (1476-1564) are greater than one might think. In the article Senne Schrayen makes a comparison between Barney's current series of performances (started in 1987) called Drawing Restraint and Michelangelo's drawings of 1532 from a transhistorical perspective and giving close attention to the process of making the drawing.

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The article analyzes Matrix film trilogy of Wachowski brothers from the aspect of the history of philosophy and presence of ideas of Plato, Descartes and Hegel in it. In the first part, it is analyzed the platonic framework of the first film and it is argued that there is no Cartesian hyperbolic doubt in it, but there is a cartesian theme in physical exercises in very Matrix as a way of freeing the mind. In the second part, using Hegel?s The Philosophy of History and The Phenomenology of Spirit, author gives an answer from the title of the article: sixth Neo is new because he started to determines himself. The final part of the article is concerned with clash of Neo and Agent Smith in third part of Matrix. Neo?s death is tragic in Hegelian sense of tragedy. Finally, the author interprets the dialog between Architect and Oracle using the Marx?s idea that whole previous history of mankind is only prehistory.

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Belly Laughs: Body Humor in Contemporary American Literature and Film Scholars are more than happy to laugh at but seem somewhat reluctant to discuss body humor, which is perhaps the most neglected form of comedy in recent criticism. In this dissertation, I examine the ways in which contemporary American writers and filmmakers use body humor in their works, not only in moments of so-called "comic relief" but also as a valid way of exploring many of the same issues that postmodern artists typically interrogate in their more somber moments. The writers discussed in this project-Philip Roth, Thomas Pynchon, Charles Johnson, and Woody Allen-were chosen for the divergent ways in which they present the body's comic predicament in psychological, metaphysical, and historical situations. The introduction explains the diverse traditions that these artists draw upon and considers how various theoretical approaches can affect our understanding of body humor. The first chapter examines Jewish-American novelist Philip Roth's use of absurd and grotesque body imagery as manifestations of his characters' moral dilemmas. The second chapter looks at how slapstick comedy informs a worldview dominated by paranioa and chaos in Thomas Pynchon's novels. Chapter Three looks at Woody Allen's early films, in which he parodies and revises the slapstick cinematic tradition of artists like Charlie Chaplin and The Marx Brothers. Chapter Four considers African-American writer and cartoonist Charles Johnson's depiction of the ways in which the body's desires and pitfalls complicate the quest for spiritual enlightenment.

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A Beautiful Belly is a feature-length, microbudget, digital motion picture produced, written, and directed by Andrew Kenneth Gay in pursuit of the Master of Fine Arts in Film & Digital Media from the University of Central Florida. The guiding question behind the production of A Beautiful Belly was whether digital "no budget" production was particularly suited to the telling of a particular kind of cinematic story - the interior journey. The pursuit of an intimate cinema shaped every decision by the filmmaker and his collaborators, and this thesis is a record of their production experience.
M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA

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This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.

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From 1922-1942, the Austrian-American architect and designer Frederick Jacob Kiesler (1890-1965) designed architecture based on the idea that it must complement the physiological and psychological processes of the human body. In order to reconcile the technological changes wrought by industrialized production with the need for structures that promoted human health, he developed an inspired model for interactive design. His formative experiences in Europe working with De Stijl and the G-Group, along with his exposure to Central European examples of architecture, art, and science set the agenda for his later works. Yet he never stopped experimenting with new concepts that would bolster his essential philosophy of body-generated space. After he immigrated to the United States in 1926, Kiesler’s pursued his ideas about physiological and psychological architecture within a new cultural milieu and a network of encouraging personal connections. He forged relationships with a sympathetic community of émigré industrial designers and architects who promoted his efforts to integrate modern technology with new design idioms. During his first fifteen years in New York City, Kiesler looked to contemporary science as a way to advance a model of flexible architectural design. He also worked at the cutting edge of industrial design research and was an early protagonist of human factors engineering methods. His body-centered methodology stood in opposition to aesthetic and reductive approaches toward modernism and functionalism. Instead of designing according to a priori determinations of what was functional and what was not, Kiesler’s functionalism was based on an iterative design practice that would reveal progressively more useful and universally applicable forms.
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This chapter surveys media that elicits laughter from the spectator. The chapter examines laughter as an involuntary response to a wide range of experiences, and not simply things that could be considered humorous. Laughter (particularly in the communal setting of a theater, or among friends) might follow jump-out-of-your-seat frights in a horror film, giddiness in response to sex, perhaps a nervous response to things that disgust. Whatever it might be, the chapter considers laughter that is spawned by something other than jokes—in the most generic sense. Jokes necessitate narrative contextualization, and this chapter looks beyond that, to examine laughter in response to other phenomena, such as bodies in pain (in the Jackass films, for instance) and the depiction of grotesque bodies (as in the film Taxidermia). The phenomenon of YouTube reaction videos—such as those to the infamous viral video 2 Girls 1 Cup—are discussed. Mikhail Bakhtim’s notion of the carnivalesque is explored at length.

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The chapter outlines the posthumous constellations that led to the making of Thomas Elsaesser’s essay film The Sun Island, about his grandfather, Martin Elsaesser, chief city architect in Frankfurt during the Weimar Republic. It reflects on the migration of non-theatrical film material into archives and art spaces, encouraging the emergence of found footage as essay film, but it also makes a case for The Sun Island as ‘home movies re-purposed’ in order to highlight the specifics of home movies as a historically and politically important practice. While acknowledging his father as ‘author’, whose images the film ‘appropriates’, The Sun Island also revisits topics associated with Thomas’s own film historical writings: family melodrama; German cinema; media archaeology; history, memory, and trauma.

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In the vast and varied written heritage of Metropolitan and Patriarch Nikon, the inscriptions on the “holy things” that were written with the participa- tion of, or on his behalf, occupy a special place. These texts, different in volume and content, exist as notes on sheets of manuscript and early printed books, in the form of belts and compositions of tiled temple decoration, as well as on an- timenes, crosses, icons, bells, liturgical vessels, and seals. Many of them by their origin and location are associated with the patriarchal monasteries — the Resur- rection in New Jerusalem near Moscow, the Iversky Svyatoozersky in Valdai and the Onega Godfather on the Kiy-island. The corpus of the inscriptions, united by the name of the Primate, has never been studied in its entirety and systematically. The authors of the article attempted to fill these gaps by applying an integrated approach in the study. They prepared on the principle of a catalog a register of “holy things” — sacred objects that make up a single whole with the texts present- ed on them. The inscriptions are classified according to the functional purpose of the objects on which they are located. The groups of annals-historical, spiritual- educational, liturgical, historical-topographic, supplementary and owner’s in- scriptions are distinguished. Historical and philological research of texts is com- plemented by an analysis of the symbolic and semantic aspects of their architectur- al and artistic design. The inscriptions appear in the context of the iconic work of Patriarch Nikon, including hierotopic, iconographic and architectural programs, embodied with the participation of masters from Great, Small and White Russia. A comprehensive study allowed us to see the inscriptions and the personality of His Holiness Nikon from a perspective that reveals the richest spectrum of litur- gical, church-historical, patristic and artistic traditions of Old Russia, combined with new trends melted down in the furnace of Orthodoxy.

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This chapter analyzes the confluence in thinking about cinematic and architectural montage in the work of the Russian filmmaker Sergei Eisenstein and the Swiss architect Le Corbusier. It describes their encounter in Moscow in 1928 and their shared admiration for the French architectural historian Auguste Choisy, whose description of spatial passage through the Athenian Acropolis is a key point of reference in the accounts the filmmaker and the architect develop of the role of narrative, movement, and editing in the apprehension of space. Although Le Corbusier’s promenade architecturale is the manipulation of a body moving through actual space according to precise calculations of a visual sequence, the cinematic version, as staged by Corbusier and Chenal, faced the viewer with a surrogate or avatar body moving through space, but never presented the viewer with the scenes viewed by this body: an invisible, one might say ineffable merging of architecture with the image of an invisible architecture as a projection of a static viewer. Architecture in this sense achieves the status desired of the modernist machine universe, but in the process has been reduced to two dimensions, without perspective. Eisenstein, for his part, was in this sense able to “build” an architecture in film—not the imperfect static forms that one had to walk through or work hard to imagine their ecstatic movement, but through the moving image itself understood as the highest technological achievement of modernism, thus achieving the (ecstatic) dissolution, in image, of modernist architecture.

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This chapter discusses the opening scenes of David Cronenberg's Shivers (1975). The exteriors and interiors of Starliner Tower, where the film is located, are played by Tourelle-Sur-Rive on Nuns' Island, a late work of the Bauhaus architect Ludwig Mies van der Rohe. The structure of the building provides a physical framework for Cronenberg's choices in the film. The mise-en-scène and production design works with the shapes of the rooms made available to the production by their residents, and their existing décor, which the production had little budget to re-dress. This unity of location makes Shivers the last of three major Cronenberg films to begin, or double, as explorations of a built environment. The chapter then considers the film's plural identity as a Quebecois production made with English-Canadian state financing. It also introduces the characters of the story. In Shivers, as in most of Cronenberg's horror films, the source of the danger is private medicine, ‘private’ in both the ‘commercial’ and ‘personal’ senses.

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Different combinations of conditions, circ*mstances and historical moments trigger festivals. One of the common denominators that characterises their origins and success over the course of time is the role of their founders. The birth of Romaeuropa Festival, provides us with a significant case study of visionary leadership. The story of this festival began in 1986, just ten years after the creation of the Estate Romana (Roman summer), a programme of cultural events invented by architect Renato Nicolini, the Rome City Council politician in charge of cultural affairs from 1976-1985, which brought life to the city’s streets and squares each summer with music, dance, theatre and film. During that period Rome, for the first time since the end of World War Two, was governed by a leftwing administration, led by mayors belonging to the Italian Communist Party (PCI). These were also the dark years of the Red Brigades and Fascist terrorism that bloodied Italy. The Estate Romana was conceived as an umbrella event, which was to bring together many independent initiatives from theatre, music, cinema, art and literature and smaller individual festivals, and which soon became a symbol of the rebirth of Rome and of the revitalisation of the deeply scarred city. Nicolini’s idea was to enable people to regain possession of public spaces, especially in the historic city centre, by encouraging them to engage with the highly ghettoised suburbs, by fostering democratic access and participation in cultural activities. The initiative also sought to integrate different cultural forms and languages into its programme and to appeal to a variety of audiences.

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Abstract: To analyze Le Corbusier's work through 3D digital modeling constitutes an important issue for the dissemination of the legacy of this major architect. During an analytical process, a relevant use of contemporary graphic means associated to an understanding of the codes of architectural representation allows to reveal new issues, or new points of view. When linking the graphic production of such process to film narrative and to the codes of documentary film, one obtain singular documents: short-movies based on computer generated images that support an analytical and critical thought, but also present projects under a new visual expression; didactic and descriptive. Those documents become particularly interesting when it comes to highlighting obscure architectural heritage, or to give body to projects remained on paper. With the support of the Fondation Le Corbusier, some Master architecture students investigated Belgian projects of the work of Le Corbusier, from which only two were built and no more than one remains. Through precise methodological issues, this paper accounts for the knowledge that such productions can offer on sometimes less-known architectural objects from the Swiss master.Resumen: Analizar las obras arquitectónicas de Le Corbusier, a través la modelización 3D, constituye un desafío importante de difusión del legado de este gran arquitecto. Mediante el proceso analítico, un uso pertinente de los medios contemporáneos de representación gráfica asociados a una comprensión de los códigos de representación arquitecturales permite de establecer nuevas perspectivas y problemáticas poco tratadas. Cuando acoplamos la producción gráfica, creada por este tipo de proceso analítico, a la narración cinematográfica y a los códigos del cine documental, obtenemos documentos singulares : cortometrajes dentro de imágenes digitales que sostienen un propósito analítico y critico, pero que su vez presentan también los proyectos arquitectónicos bajo una nueva expresión visual, didáctica y descriptiva. Estos documentos pueden revelarse particularmente interesantes cuando se trata de valorizar un patrimonio arquitectural desconocido, o de ofrecer un cuerpo solido a los proyectos yacidos en hojas de papel. Con el apoyo de la Fundación Le Corbusier, los estudiantes de Master de arquitectura se interesaron a los proyectos belgas de los trabajos diseñados por Le Corbusier, de los cuales solo dos han sido construidos y solo uno permanece en pie. Mediante cuestionamientos metodológicos precisos, este articulo relata el conocimiento que este tipo de producciones pueden ofrecer sobre los objetos arquitectónicos menos conocidos del gran maestro suizo. Keywords: Le Corbusier, architectural analysis, 3D modelisation, photography, short film, Belgium.Palabras clave: Le Corbusier, análisis arquitectónico, modelización 3D, fotografía, cortometrajes, Bélgica. DOI: http://dx.doi.org/10.4995/LC2015.2015.764

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Resumen: Este artículo plantea la revisión de la relación entre el arquitecto Le Corbusier y el cineasta Sergei Eisenstein. Se lanza como hipótesis la posible influencia del cineasta en Le Corbusier. Le Corbusier versus Eisenstein en el sentido más profundo de ‘avanzar en dirección a’: Le Corbusier hacia la cinematografía, no como contraposición. Se esboza el papel de cada figura y su encuentro en el período de 1928-1936, tiempo en que Le Corbusier se aproximó a la Unión Soviética, un contexto que configura un marco complejo a partir del cual es posible entrever aquello que los vincula y que refuerza la hipótesis planteada. Por otro lado, se realiza un análisis de Poème électronique - filme de 480” que Le Corbusier hace en 1958 con motivo de la Exposición Universal en Bruselas - con la intención de visibilizar que Le Corbusier recurre a la técnica del montaje dialéctico de la que Eisenstein era maestro y por tanto la consustancial influencia. Le Corbusier reconoce el potencial de esta técnica de montaje y se sirve de ella como la estrategia clave en su aproximación al ámbito de la cinematografía. El mecanismo del montaje dialéctico forma parte de su propio pensamiento y lo materializa en su arquitectura y también en el caso de estudio que nos ocupa, en la disciplina de la imagen en movimiento, tan próxima a ésta. Pero hay más, en el Pabellón Philips la técnica del montaje oculto - sobre la que Eisenstein había teorizado en aquél periodo - está presente, pues mediante éste mecanismo construye la puesta en escena del espectáculo total. Como veremos, Poème électronique representa la construcción de un sueño. Abstract: This article reviews the relationship between the architect Le Corbusier and the filmmaker Sergei Eisenstein. When launched, it was seen to hypothesise the possible influence of the filmmaker in the work of Le Corbusier. Le Corbusier versus Eisenstein, in the deepest sense of the expression, is portrayed as "towards to": Le Corbusier towards the film, not in opposition to it. It outlines the role of each figure and their interactions during the period between 1928 and 1936, the time when Le Corbusier got closer to the Soviet Union. This context forms a complex framework from which it is possible to glimpse what it is that links them, reinforcing the hypothesis-raised. On the other hand, this work presents an analysis of the Poème électronique - 480" film Le Corbusier made in 1958 for the Universal Exhibition in Brussels - in order to exemplify that Le Corbusier uses the technique of dialectical montage, in which Eisenstein was the undisputed master, thereby highlighting an inherent influence. Le Corbusier recognises the potential of this montage technique and uses it as a key strategy in his approach to the field of cinema. The mechanism of dialectical montage is a part of Le Corbusier's own thought and this materialises both in his architecture as well as in the subsequent case study regarding the discipline of the moving image, which is closely aligned to it. There is, however, more to it. In the Philips Pavilion, the hidden montage technique - theorised by Eisenstein in that period - is present, the use of which was the mechanism to construct the stage for the spectacle as a whole. As we will see, Poème électronique represents the construction of a dream. Palabras clave: Eisenstein; Le Corbusier; Le Poème électronique; montaje dialéctico; montaje oculto; cinematografía. Keywords: Eisenstein; Le Corbusier; Le Poème électronique; dialectical montage; hidden montage; cinematography. DOI: http://dx.doi.org/10.4995/LC2015.2015.824