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Architecture as a cinematic narrative tool: When places tell stories

Galouni Erifyli

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Summary

The research paper explores the complex and interconnected relationship between architecture and cinema, with an emphasis on architectural thinking within the cinematic process.The paper begins by establishing a theoretical framework linking architecture and cinematic art. It explores, how directors and producers of a film, use space, structure and design to convey themes, emotions and character development. The analysis is rooted in the idea that both disciplines share a common goal: to create compelling environments that engage the viewer-user with their surroundings. Principles of filmmaking, such as framing, lighting, perspective, movement and storyboarding (illustrations, narratives), seem to be influenced by methods of architectural design, and vice versa. By analyzing the ways in which filmmakers use visual storytelling to evoke emotions, convey messages, and create immersive and spectacular experiences, this study reveals the parallel relationship between the two fields, as architects apply similar techniques to enhance functionality through simulation, as well as the aesthetic and compositional inventiveness of their designs and projects.Through a comparative analysis of key elements and examples from cinema, possible synergies between cinema and architecture in shaping and improving human experiences within built environments will be revealed. The aim is to demonstrate that architecture is not just a setting, but a critical element that shapes the viewer's experience and forms the director's vision. The study focuses on five distinctive films known for their strong architectural themes: Metropolis (1927), Rear Window (1954), Throne of Blood 1957, The Draughtsman's Contract (1982), The Lighthouse (2019), Midsommar (2019).

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