2026-09-21T02:23:37Zhttps://dspace.mit.edu/server/oai/requestoai:dspace.mit.edu:1721.1/391892025-10-27T18:00:45Zcom_1721.1_7582com_1721.1_7581col_1721.1_131023
William Uricchio.
Jacobson, Brian R
Massachusetts Institute of Technology. Dept. of Comparative Media Studies.
Massachusetts Institute of Technology. Program in Comparative Media Studies/Writing
2007-10-19T20:28:28Z
2007-10-19T20:28:28Z
2005
2005
http://hdl.handle.net/1721.1/39189
65170987
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2005.
Includes bibliographical references (p. 143-146).
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.
(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.
by Brian R. Jacobson.
S.M.
146 p.
eng
Massachusetts Institute of Technology
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.
http://dspace.mit.edu/handle/1721.1/7582
Comparative Media Studies.
Constructions of cinematic space : spatial practice at the intersection of film and theory
Thesis
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<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.</Abstract>
<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.</Abstract>
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