2016
60' – DCP – Color – Israel, Switzerland
Reflections on Architecture
We have passed the last year or so in search for a dialogue that these two very powerful disciplines, architecture and cinema, may offer. There are a lot of parallels which unite them. Both mediums are non-intimate arts, that require some talent to confederate people from different origins, to give them a common sense of mission so that the outcome will be a great building or film. Both start with a text, be it a program for a new construction or a screenplay for a movie. But the text does not have a physical shape, we have to translate this verbal expression into FORM.
This filmatic diary/dialogue integrates traces, both physical and intellectual.The trace of the Golem (I can still hear the voice of Jorge Luis Borges reading his poem “El Golem”), this very first artefact, which was later taken by the expressionists to install the idea of the potential hopes and the risks/dangers of objects created by humans.
They may help “progress” but they can also be destructive. This will lead us to discuss the issues of beauty and aesthetics in the creation of forms. Also we will evoke one of the great dilemmas of the present: how will the advanced digital tools of design help or cripple the architectural “product” (I use the term “product” since sometimes we feel that these architectural creatures have been pre-simulated in a mechanical/Golem-like manner).
Cinema and architecture necessitate both a technological know-how so that they can become erected into reality. And both disciplines require a good and enlightened commissioner, one who will reach to the ambitions of excellence, and a humanly acceptable materialization of the idea,be it the producer of a film or the person who orders from the architect a new building. Let’s hope for the best.
Amos Gitai
CREDITS
With the participation of
Jacques Herzog, Pierre de Meuron, Hanna Schygulla, Juliette Binoche, Lukas Richterich, Vittorio Mezzogiorno, Annie Lennox, Barbara Hendricks, Jeanne Moreau
Music/vocals
Jorge Luis Borges reads his poem “El Golem”
“The Song of the Earth, after Gustav Mahler” vocals by Barbara Hendricks
The Ecclesiastes, “A time for...”, vocals by Hanna Schygulla, music by Markus and Simon Stockhausen
Johann Sebastian Bach, “Prelude and Fugue in E-minor”, piano by Edna Stern
Adaptation of popular German songs by the Pina Bausch Dance Company
Production Ruth Waldburger, Michael Tapuach, Arutz 8, Laurent Truchot
We have passed the last year or so in search for a dialogue that these two very powerful disciplines, architecture and cinema, may offer. There are a lot of parallels which unite them. Both mediums are non-intimate arts, that require some talent to confederate people from different origins, to give them a common sense of mission so that the outcome will be a great building or film. Both start with a text, be it a program for a new construction or a screenplay for a movie. But the text does not have a physical shape, we have to translate this verbal expression into FORM.
This filmatic diary/dialogue integrates traces, both physical and intellectual.The trace of the Golem (I can still hear the voice of Jorge Luis Borges reading his poem “El Golem”), this very first artefact, which was later taken by the expressionists to install the idea of the potential hopes and the risks/dangers of objects created by humans.
They may help “progress” but they can also be destructive. This will lead us to discuss the issues of beauty and aesthetics in the creation of forms. Also we will evoke one of the great dilemmas of the present: how will the advanced digital tools of design help or cripple the architectural “product” (I use the term “product” since sometimes we feel that these architectural creatures have been pre-simulated in a mechanical/Golem-like manner).
Cinema and architecture necessitate both a technological know-how so that they can become erected into reality. And both disciplines require a good and enlightened commissioner, one who will reach to the ambitions of excellence, and a humanly acceptable materialization of the idea,be it the producer of a film or the person who orders from the architect a new building. Let’s hope for the best.
Amos Gitai
CREDITS
With the participation of
Jacques Herzog, Pierre de Meuron, Hanna Schygulla, Juliette Binoche, Lukas Richterich, Vittorio Mezzogiorno, Annie Lennox, Barbara Hendricks, Jeanne Moreau
Music/vocals
Jorge Luis Borges reads his poem “El Golem”
“The Song of the Earth, after Gustav Mahler” vocals by Barbara Hendricks
The Ecclesiastes, “A time for...”, vocals by Hanna Schygulla, music by Markus and Simon Stockhausen
Johann Sebastian Bach, “Prelude and Fugue in E-minor”, piano by Edna Stern
Adaptation of popular German songs by the Pina Bausch Dance Company
Production Ruth Waldburger, Michael Tapuach, Arutz 8, Laurent Truchot
SALES / DISTRIBUTION
AGAV FILMS
6, cour Berard. 75004 Paris – France
+33 (0)1 42 40 48 45
agav@amosgitai.com
SALES / DISTRIBUTION
AGAV FILMS
6, cour Berard. 75004 Paris – France
+33 (0)1 42 40 48 45
agav@amosgitai.com
