电影建筑学系列讲座 | 南大×雷锋直播预告

 南大电影建筑学系列讲座直播 

●5.25 周二 17:00-18:30

城市交响曲：以电影观察和记录城市

City Symphonies: An observation of the city

●5.27 周四 17:00-18:30

城市电影分析：叙事分层法与电影城市考古学

Analysing Urban Films: The narrative layers approach and the cinematic urban archaeology method

●6.1 周二 17:00-18:30

未来场景：以电影展望城市未来

Future Scenarios：A cinematic perspective

 直播地址 / Link 

Bilibili直播间 全球知识雷小锋

Bilibili Broadcast Room 全球知识雷小锋

ID:22407417 

Link:https://live.bilibili.com/22407417 

 主讲人 / Speaker 

François Penz

剑桥大学建筑系终身教授、动态影像可视化领域开创者。曾任剑桥大学建筑系主任、剑桥大学马丁研究中心主任、剑桥大学设计、可视化与交流数字实验室主任。他曾主持英国艺术与人文研究基金重大课题A Cinematic Musée Imaginaire of Spatial Cultural Differences、欧盟第六框架重大课题New Media for a New Millennium等开创性的重大科研计划。

François Penz is an architect by training and Professor of Architecture and the Moving Image at the University of Cambridge.  He is a former Head of the Department of Architecture, a former Director of The Martin Centre for Architectural and Urban Studies and a Fellow of Darwin College. He has written widely on issues of cinema, architecture and the city and co-edited ‘Urban Cinematics: Understanding Urban Phenomena Through the Moving Image’ (Intellect 2011) and Cinematic Urban Geographies (Palgrave macmillan 2017).  His monograph on Cinematic Aided Design: an everyday approach to architecture was published by Routledge in 2017.  Since 2010 he has been the co-director of the Cambridge – Nanjing Research Centre on Architecture and Urbanism. In 2015 he produced the film Recovering the lost church of San Pier Maggiore as part of the National Gallery’s exhibition ‘Visions of Paradise’. His recent AHRC research project, ‘A cinematic musée imaginaire of spatial cultural differences’ (2017-2020), expands many of the ideas developed in his Routledge book applied to other cultures (China and Japan in particular), construing films of everyday life as a revelator of deep spatial cultural differences.

 主持人 / Moderator 

Andong Lu

鲁安东，南京大学建筑系教授、系主任。在剑桥大学Darwin学院获得博士学位，是Wolfson学院的研究员。他是中国建筑学会城市设计专业委员会委员，也是国际建筑师联盟公共空间专业委员会委员。在学术期刊上发表了大量文章，并在《建筑设计》(John Wiley)和《建筑学报》(中国建筑学会)担任了9期特刊的特约编辑。他也是中国电影建筑领域的领军学者和教育家。与François Penz合著了《城市电影艺术》(2011年)、与丁沃沃、Arie Graafland合著了《转型中的城市》(2015)。同时，他也是2018年伦敦设计双年展中国馆的建筑师，南京UNESCO（联合国教科文组织）文学之都的总规划师。

Andong Lu is Professor in Architecture and Head of Department of Architecture, Nanjing University. He completed PhD at Darwin College, University of Cambridge, and was a Fellow of Wolfson College. He is a board member of the Committee of Urban Design of the Architectural Society of China and the Committee of Public Space of the International Union of Architects (UIA). He has published widely in academic journals and acted as guest-editor for nine special issues for Architectural Design (John Wiley) and the Architectural Journal (Architectural Society of China). He is the leading scholar and educator of cinematic architecture in China, and co-edited with François Penz the Urban Cinematics (University of Chicago Press, 2011) and with Wowo Ding and Arie Graafland the Cities in Transition (NAi010 Press, 2015). He is the architect of the China Pavilion at the 2018 London Design Biennale and master planner of the Nanjing UNESCO City of Literature.

Yiqiao Sun

孙依巧，自2011年起留徳七年，本硕毕业于斯图加特大学，现跟随剑桥大学Francois Penz教授攻读博士学位，参与由AHRC资助的CineMuseSpace——“空间文化差异的电影影像"研究项目，PhD主攻方向为探寻电影作为深入解读建筑及城市空间内日常生活实践的一种研究方法。

Yiqiao Sun is currently a PhD student in the Department of Architecture at the University of Cambridge working with Francois Penz. Her research interests focus on film, architecture/city and the everyday life. She previously completed a B.S. and a M.S. (with Distinction) in Architecture and Urban Planning at the University of Stuttgart, Germany.

 讲座介绍 / Abstract 

5.25

17:00-18:30

城市交响曲：

以电影观察和记录城市

City Symphonies: 

An observation of the city

本场讲座始于一系列对于影像中的“城市观察”的思考 —— 从1995年的电影《烟》（王颖，保罗·奥斯特）中的一段摘录展开，再讲到日本摄影师富安隼久（Hayahisa Tomiyasu）所拍摄的深具洞察力的照片。而对观察性的电影短片《Tallinn》（2010）的深度分析将会展现出用镜头捕捉城市环境的复杂性的种种方式。在上世纪二十年代，虽然大量的电影在影棚中完成拍摄，但用Carl Mayer的话说，当时的一些电影工作者却在“渴求真实”（starve for reality）。于是在这段时间里，许许多多被称为“城市交响诗”的纪录片出现了，它们最终形成了一个崭新的电影类型。在这些纪录片之中，有两部史无前例地歌颂了城市， 它们是《柏林，城市交响曲》（Walter Ruttman, Germany, 1927）以及《持摄影机的人》（Dziga Vertov, USSR, 1929）。

The lecture started with a number of considerations on ‘city observations’ – first with an extract from Smoke (Wang 1995) – followed by observational photographs by Hayahisa Tomiyasu. The analysis of an observational short film shot in Tallinn (2010) showed ways to grasp the complexities of the urban environment.In the 1920s a great number of films were made in studios, and some film makers became, in the words of Carl Mayer, ‘starved for reality’. It resulted in the productions of numerous City Symphonies which became a new film genre. Among those, two films celebrated the city as never before, Berlin, Symphonie of a Great City (Walter Ruttman, Germany, 1927) and Man with a Movie Camera (Dziga Vertov, USSR, 1929).

5.27

17:00-18:30

城市电影分析：

叙事分层法与电影城市考古学

Analysing Urban Films:

The narrative layers approach and the cinematic urban archaeology method

讲座将分为三部分在城市层面探讨电影之于建筑学的意义。第一部分"地图中的电影"主要以威廉-史密斯绘制的剑桥地图 [Civitates Orbis Terrarum 1575] 为例讨论如何将电影原理引入地图世界。而第二部分“电影中的地图”则通过比较的方法简要地探讨了地图在电影中的戏剧化应用。

此次讲座主要聚焦于第三部分“巴特西（伦敦西北区）的电影地理学”。该项目展示了电影及移动影像可以作为一种独特的理解城市的方法。我们在这里探讨了两种不同但互补的分析建筑环境的方法：首先是"电影城市考古学 "，我们据此 "挖掘 "城市结构上积累的连续的“电影层”，以此来观察现代城市的形成过程和伦敦自1895年以来的城市变化。与这种“纵向研究方法”相互补的是“横向研究法”，即通过电影对某个特定时间点上的特定的城市区域进行研究。

This lecture explores film at the level of the city in three parts. In the first part, ‘The cinema in the map’, engages with the world of maps through cinematic mechanisms, using, as an example, William Smith’s map of Cambridge [Civitates Orbis Terrarum 1575]. By contrast ‘the map in the cinema’ section briefly explores the dramatic use of maps in fiction films.

The substantive part of the seminar concentrates on ‘The Cinematic Geographies of Battersea’, a project that demonstrates the unique mechanisms by which cinema and the moving image contribute to our understanding of cities; we explore here two different yet complementary ways of appraising the built environment: the ‘cinematic urban archaeology’ method, whereby we ‘excavate’ the successive cinematic layers accumulated over the urban fabric, making visible the emergence of the modern city and its subsequent transformations since the year 1895. The other model discussed is the cross sectional studies approach i.e the study of a particular urban area at a specific point in time.

6.01

17:00-18:30

未来场景：

以电影展望城市未来

Future Scenarios：A cinematic perspective

导演帕特里克·凯勒曾经说：在电影中，“一个人探索过去的空间，以更好地预见未来。” 然而，一系列由20世纪至今关于未来电影的纵向分析表明，电影的未来正在不断趋于现在，聚焦于一个可供回溯过去的节点。这也预示着，人们不再相信科技能够解决本质问题。

在一个日益数字化驱动的世界中，电影作为人本的媒介，能够提供自上而下理解城市的视角，从而为新城市的发展提供参考与启发，重构并重塑着城市的未来。我们如今正处于历史上的艰难时刻，借由电影，建筑师与城市设计师能够融合他们的观点与雄心，探索未来场景。

In films ‘one can explore the spaces of the past, in order to better anticipate the spaces of the future’ states Patrick Keiller. However, a rapid longitudinal analysis of films about the future, across the 20th century to present day, indicates that cinematic futures are getting closer and closer to the present - to the point of looking to the past. It also shows a perceptible erosion in the belief that technology and science can solve our problems. Yet in an increasingly digital and technologically driven world,  cinema as a people-centric medium is capable of providing us with a bottom-up understanding of cities that can potentially inform new urban developments to re-imagine and re-shape the future of cities.  At a difficult time in our history, architects and urbanists can profitably learn from cinema, fusing their visions and ambitions to explore future scenarios.

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