Film and architecture go together like peanut butter and whatever you like to eat with peanut butter (I’m not here to judge). The point is that the two art forms share an intimate bond, a fact that was recognized early on in film history. In the late 1930s, the legendary Russian director Sergei Eisenstein explained the filmmaking technique of montage by means of an architectural metaphor, noting how a visitor to the Acropolis would not be able to take in the whole complex from a single vantage point. To do this, the visitor would need to move through the Acropolis and experience the different spaces as a sequence of individual impressions. Still from Sergei Eisenstein’s 1931 film “¡Que Viva México!”; via The Third Eye Filmmaking, for Eisenstein, works the same way. Films, like buildings, are constructed environments, and the filmmaker, like the architect, must ensure that they are navigable. Like architecture, film has had its postmodern and deconstructionist rebels, who created techniques to throw viewers off the trail and frustrate their attempts to comprehend the whole. But in general, the medium prizes narrative smoothness, which can be seen as an analogue to functionality. It is no ... , Pat Finn, read more Architizer http://ift.tt/2iEbH0Z
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