透过布景闪耀的俯瞰酒店的电影空间

IF 0.1 0 ARCHITECTURE
Jesús Lazcano López
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引用次数: 0

摘要

摘要为了建造俯瞰酒店(the Shining,1980),Stanley Kubrick在伦敦的Elstree Studios重现了分散在美国各地的酒店、汽车旅馆和度假胜地的不同碎片的1:1比例复制品。通过细致的观察照片和制作模型,组成酒店的不同区域的布景得以建造。库布里克创作了一个从零碎、构建和组装的身体中出现的建筑,通过Steadicam和蒙太奇提供的叙事可能性,将其转化为一个看似单一的电影空间。酒店被描绘成一个看似合理的建筑;然而,通过对空间逻辑的持续颠覆,它充满了悖论、外部参照、潜台词和空间不可能——这些都是随着对电影的仔细观看而出现的。利用模型、照片和采访,并将其与电影进行比较,制定了俯瞰酒店不同区域的平面图,目的是反思他们可能集会的意图。绘制它们的目的还在于反思电影的叙事结构(基于交织的时间和空间)与场景在屏幕上的结合方式之间的现有联系。通过对建筑表达的分析,本文将研究其中一些空间上的不一致,以推测对这部电影的可能解释,在这部电影中,建筑从概念上起着核心作用,这不仅是因为它的布景在制作和拍摄阶段的重要性,而且是在图像和叙事层面上。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The filmic space of the Overlook Hotel in the Shining through the sets
AbstractFor the construction of the Overlook Hotel (The Shining, 1980) Stanley Kubrick recreates, at Elstree Studios in London, 1:1 scale replicas of different fragments of hotels, motels, and vacation resorts scattered throughout the United States. Through a meticulous work of observing photographs and making models, sets of the different areas that make up the hotel are built. Kubrick composes an architecture that emerges from a fragmentary, constructed and assembled body which, through the narrative possibilities offered by the Steadicam and montage, is transformed into a seemingly unitary filmic space. The hotel is rendered as a plausible architecture; however, it is full of paradoxes, external references, subtexts, and spatial impossibilities—which emerge with an attentive viewing of the film—through a persistent subversion of the logics of space. Using models, photographs, and interviews, and comparing them with the film, plans of the different areas of the Overlook Hotel are drawn up with the aim of reflecting on the intention of their possible assembly. They are also drawn with the aim of reflecting on the existing link between the narrative structure of the film, based on intertwining times and spaces, and the way in which the sets come together on screen. Through an analysis based on architectural expression, the article will study some of these spatial inconsistencies to speculate on a possible interpretation of the film in which architecture plays a central role from its conception, not only due to the importance of its sets during the production and filming stages, but also on an iconographic and narrative level.     
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