2026-09-19T13:32:38Zhttps://dspace.mit.edu/server/oai/requestoai:dspace.mit.edu:1721.1/742972022-01-13T07:54:12Zcom_1721.1_7582com_1721.1_7581col_1721.1_131023
Richard Leacock.
Gianvito, John Henry
Massachusetts Institute of Technology. Dept. of Architecture.
Massachusetts Institute of Technology. Department of Architecture
2012-10-26T17:57:55Z
2012-10-26T17:57:55Z
1981
1981
http://hdl.handle.net/1721.1/74297
08292383
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. VIDEOCASSETTE IN ROTCH VISUAL COLLECTIONS.
Includes bibliographical references.
The following retraces the path of a director tracing the path of a muse from early Spring 1979 through January 1981. What resulted was a form of psychodrama enveloping the cast, crew, and director in the making of an autobiographical feature film, "The Flower of Pain." As the lessons of life are learned through one's mistakes, the enlarging of these mistakes and personal failings onto a cinema screen affords both the illumination of motivation and the expiation of the past. The cinema can no longer be a place one goes to in order to escape but rather, a place one goes to in order to find oneself; one enters the cinema for repairs. Similarly, there is inherent therapy in the creative process, and this must be imposed onto the viewer. One must be able to take a film home and use it. To the extent that this kind of filmmaking is a communal act, it requires the development of techniques and refinement of skills that encourage the actor to live concentrated in front of a camera, confident that his own personal experiences, his traumatisms and philosophy, coincide with the film's design.
John Henry Gianvito.
M.S.V.S.
16 leaves
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
Architecture.
Cinematography
Cinematography Psychological aspects
Translations upon cinema as a psychotherapeutic rite
Thesis
application/pdf
Publication
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<Abstract>The following retraces the path of a director tracing the path of a muse from early Spring 1979 through January 1981. What resulted was a form of psychodrama enveloping the cast, crew, and director in the making of an autobiographical feature film, "The Flower of Pain." As the lessons of life are learned through one's mistakes, the enlarging of these mistakes and personal failings onto a cinema screen affords both the illumination of motivation and the expiation of the past. The cinema can no longer be a place one goes to in order to escape but rather, a place one goes to in order to find oneself; one enters the cinema for repairs. Similarly, there is inherent therapy in the creative process, and this must be imposed onto the viewer. One must be able to take a film home and use it. To the extent that this kind of filmmaking is a communal act, it requires the development of techniques and refinement of skills that encourage the actor to live concentrated in front of a camera, confident that his own personal experiences, his traumatisms and philosophy, coincide with the film's design.</Abstract>
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