A Cinematic Musée Imaginaire of Spatial Cultural Differences [CineMuseSpace]

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Now that cinematic representations of every part of the globe are available to us, the Cinematic Musée Imaginaire of Spatial Cultural Differences [CineMuseSpace] proposes to enlarge Malraux' idea of the Musée Imaginaire [Museum without Walls] to display, compare, contrast and communicate spatial constructs across cultures in order to generate a novel understanding of spatial cultural differences, arguing that Cinematic Archive and Musée Imaginaire in turn will expand the physical museum experience of today. The CineMuseSpace will deliver the first cross-cultural interdisciplinary study of space by unlocking architectural records previously embedded in cinematic media. By releasing this knowledge, CineMuseSpace will make it accessible to scholars but also architects, planners and policy-makers, as well as the general public, drawing great societal benefit from the new critical resources that are proposed.Our first hypothesis is that the study of space has become increasingly prominent, making it a good interpreter of societies and cultures; space is an expression of our culture and history materialised in stone, concrete and glass in which our everyday lives unfold. Ultimately understanding spatial constructs from other societies may give us a unique insight into other cultures. The second hypothesis is that of all cultural forms, cinema operates and is best understood in terms of the organization of space. The filmic image shows the visible side of a society and an epoch that image makers try to grasp in order to transmit it. Films record and communicate with unique immediacy how people in different cultures and cities live their lives in domestic buildings and communal spaces. The third hypothesis is that Malraux's Musée Imaginaire provides us with a novel and appropriate paradigm. Malraux assembled photographs of world sculptures according to Eisenstein's montage principles, comparing and contrasting them across the pages. Our proposal is to start from Malraux's concept but use films instead of photographs and complement it with Descola's anthropological approach to images from other cultures (La Fabrique des Images 2010) in order to gather a deeper understanding across cultures.Informed by Malraux's concept and Descola's ontologies, the research will work towards the creation of a Cinematic Musée Imaginaire of Spatial Cultural Differences where moving images will be the integrating medium for communicating the key points of the project. Central to the research is the construction of a cinematic ontology of spatial cultural differences that will more specifically focus on films representative from both the Western 'naturalism' tradition [Europe/USA] and from the Eastern 'analogism' tradition [China/Japan], after Descola's ontologies. Following from that, our cross-cultural cinematic ontologies will be screened inside innovative installations at our partner museum sites: The Centre for Chinese Contemporary Art, Manchester, National Museums Liverpool and The Art Museum of Nanjing University of the Arts, China. Through a novel exhibition development process which utilises leading-edge approaches in museum studies and draws academics and curators together in a research-led design process, CineMuseSpace will also make a significant contribution to on-going developments in the cultural sector which seek to transform the physical museum experience.Finally, catalyzing a conceptual paradigm-shift in the understanding of other cultures commensurate with the latest advances in digital technologies, we will implement an innovative online virtual version of CineMuseSpace, leaving a sustainable methodology and framework capable of replication across other cultures, a lasting resource that can be expanded over time.