The hosted architectural documentary on British television: Ian Nairn and the personalization of place
The hosted architectural documentary on British television: Ian Nairn and the personalization of place
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英国电视台主持的建筑纪录片：伊恩·奈恩和场所的个性化
作者：
K. Flanagan
电影和电视是唯一能够传达建筑经验的。通过相机移动、编辑、取景、空间跟踪和/或将细节从更大的整体中隔离出来，这些移动的图像产生空间。一方面，它们是一种真实存在于一个地方的经验的体面代理;另一方面，它们提供了一种超越个人经验能力的代表性手段。关于建筑的电影可以构建建筑的体验，并可以给我们新的主观立场来考虑它们。以田原浩的戏剧纪录片《安东尼奥·高迪》（1984）为例，这部纪录片以沉思的眼光审视了这位著名的加泰罗尼亚建筑师的建筑，特别是它们定义了巴塞罗那的视觉城市景观。这部电影之所以受到评论家的喜爱，部分原因是它依赖于风格和美学来构建高德纳的体验。Dore Ashton写道，Teshigahara的“节奏美妙的节奏序列”表明了“一个好的艺术史学家的精确性”，这样的风格与内容的要求相匹配，就像“他的工匠对细节的眼睛”一样。用他的相机扫描高德纳雕塑幻想的细节。1琳达C.埃利希描述了电影的成功，通过其自愿限制的方式：“大部分安东尼奥高迪是没有任何叙事解释，除了偶尔的副标题，以确定一个建筑物，设置催眠音乐获奖作曲家武光彻，以及欧洲档案
Film and television are uniquely able to convey architectural experience. Through camera movements, editing, framing, tracking through space, and/or isolating details from a larger whole, these moving images produce space. On the one hand they are a decent proxy for the experience of actually being in a place; on the other they provide a representational means of going beyond the capacities of individual experience. Films about architecture can construct the experience of buildings, and can give us new subjective positions from which to consider them. Take, for instance, Hiroshi Teshigahara’s theatrical documentary Antonio Gaudı (1984), a meditative look at the celebrated Catalan architect’s buildings, in particular as they define the visual townscape of Barcelona. Part of what endears the film to critics is its reliance on style and aesthetics to build the Gaudı experience. Dore Ashton writes of Teshigahara’s ‘wonderfully paced rhythmic sequences’ that evince ‘the precision of a good art historian’, such that style matches the demands of content, as when ‘his craftsman’s eye for detail [...] scans with his camera the particulars of Gaudı’s sculptural fantasies’. 1 Linda C. Ehrlich describes the success of the film by way of its voluntary limitations:‘Most of Antonio Gaudı is without any narrative explanation except for the occasional subtitle to identify a building, set to hypnotic music by award winning composer Takemitsu Toru, as well as European dossier