This is an exercise that will analyse from an architectural point of view, different movies to be able to understand the decisions a director took before start recording to place the camera (eye of the spectator) in an specific position in relatio to the space. 

The movies that I will analyse during the following 6 months might change depending on the process. 

First, I will analyse one to see how much time and which tools do I need to finish a proper analysis. With this I intend to be able to specify the methodology of the research process. 

Some movies might diapear form the list and others might appear.

The questions I intend to research during this analysis are, the position of the spectator towards the narrative and the role of the space in that relation.

This research is supported by the Stimulering Fonds.

Director: Peter Greenaway. 

His understanding of pictorial composition has an approach completely different from what Hitchcock does, and we, as spectators are taken into a trip inside his complex realities. 

Director: Ettore Scola.

Director: Wes Anderson.

He creates complex spatial compositions, where his protagonists live weird colourful adventures, I am curious to see if it is all a trick or if actually the space where everything happens is also part of the structure of the narrative. We as spectators are generally placed looking at a frontal set, where the narrative crosses and takes us into different scenarios. 

Director: Paco Plaza

Director: Luca Guadagnino

Director: Roy Andersson

Director: Wong Kar-wai

Director: Alfred Hitchcock

Because of his approximation and differentiation between suspense and surprise, by revealing or hiding information to the spectator, which can happens sometime with the position of the eye of the spectator. Even thought there are already many analysis made from his movies, I intend to do an analysis that involves the spectator with the space where the main protagonists move and the action takes place.  

- Om det oändliga 

(About Endlessness). 2019.

- Rope. 1948.

Because the whole movie happens in a penthouse with four aligned rooms.

- Una giornata particolare. 1977.

In the mood for love. 2000. 

There is a scene in the movie where the two main characters find themselves trapped in a bedroom. They spend there two days and one night, they write together, sleep, eat, speak about their respective marriages... and all of this in a very small space, where a whole dynamic between them stards and the position of the spectators’s eye is calculated to the millimetre. 

The nightwatching. 2007.

Moonrise Kingdom. 2012.

- Verónica. 2017. 

- Suspiria. 2018.

The creation of a suffocating atmosphere where you know from the begining that something weird happens behind closed doors, it is a fascinating opportunity to study this building, placed in Berlin in 1977. 

Rear Window. 1954.

Because in this movie the spectator is trapped with the main character in a chair, looking through a window and completing information of what the framed scenes from his neighbours are doing. The position of the main character and what the spectator sees are crucial to create the narrative. 

The Grand Budapest Hotel. 2014.