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Constructions of cinematic space : spatial practice at the intersection of film and theory

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dc.contributor.advisor William Uricchio. en_US
dc.contributor.author Jacobson, Brian R en_US
dc.contributor.other Massachusetts Institute of Technology. Dept. of Comparative Media Studies. en_US
dc.date.accessioned 2007-10-19T20:28:28Z
dc.date.available 2007-10-19T20:28:28Z
dc.date.copyright 2005 en_US
dc.date.issued 2005 en_US
dc.identifier.uri http://hdl.handle.net/1721.1/39189
dc.description Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2005. en_US
dc.description Includes bibliographical references (p. 143-146). en_US
dc.description.abstract This thesis is an attempt to bring fresh insights to current understandings of cinematic space and the relationship between film, architecture, and the city. That attempt is situated in relation to recent work by Michael Hardt and Antonio Negri, Saskia Sassen, and others on the importance of the city in the current global framework, along with the growing body of literature on film, architecture, and urban space. Michel De Certeau's threefold critique of the city, set forth in The practices of Everyday Life, structures a comparative analysis of six primary films, aired as follows, with one air for each of three chapters-Jacques Tati's lay Time and Edward Yang's Yi Yi, Vittorio De Sica's Bicycle Thieves and Wang Xiaoshuai's Beijing Bicycle, and Franqois Truffaut's The 400 Blows and Mira Nair's Salaam Bombay!. Along with De Certeau's notions of satial ractice, walking rhetorics, and the pedestrian speech act, the philosophy of Gilles Deleuze-including work from the Cinema texts and A Thousand plateaus-is developed in relation to existent film theory on movement, time, and space. en_US
dc.description.abstract (cont.) The analysis operates as a kind of mediation between an active set of spatial theories-a mediation which uses traditional techniques of film analysis and critical theory to instigate a negotiation around the topic of (cinematic) space. That negotiation implies a common ground on which the film texts and theories are read against and in addition to one another, allowing each to contribute in its own right to the setting u of a series of terms-what I refer to as a "spatial grammar"-proper to both film and theory. The spatial grammar thus comprises a more abstract theoretical lane-a palimpsest on which resides a classic body of work on cinematic space (including Andre Bazin, Stephen Heath, and Kristin Thomson), and on which I layer the work of De Certeau, Deleuze, Fredric Jameson, and others. en_US
dc.description.statementofresponsibility by Brian R. Jacobson. en_US
dc.format.extent 146 p. en_US
dc.language.iso eng en_US
dc.publisher Massachusetts Institute of Technology en_US
dc.rights M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission. en_US
dc.rights.uri http://dspace.mit.edu/handle/1721.1/7582
dc.subject Comparative Media Studies. en_US
dc.title Constructions of cinematic space : spatial practice at the intersection of film and theory en_US
dc.type Thesis en_US
dc.description.degree S.M. en_US
dc.contributor.department Massachusetts Institute of Technology. Dept. of Comparative Media Studies. en_US
dc.identifier.oclc 65170987 en_US


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