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Index
A
Acres, Brit 314
Adam, Ken 33–41, 155
“aesthetic factors” 163, 165
Althusser, Louis 99
Amalienburg pavilion 59
Animate Form 302
Antonioni, Michelangelo ix, 4, 109–117, 314
Archigram 36
Architectural Association 5. 156, 157
Arnheim, Rudolph 314
Arrival of a train at La Ciotat, The 13–15
Athens Charter 100
B
Baby of Macon, The 87
BAFTA 35
Balázs, Béla 314
Baraka 77
Barcelona 80, 199, 203, 214
Baroque Architecture 53, 59
Banham, Reyner 36, 113, 116
Barthes, Roland 99, 295, 298
Battleship Potemkin, The x, 178–180, 227, 228
Baudrillard, Jean 14, 16, 99, 101, 111, 213
Bazin, André 6, 244, 270, 273–279
Bédard, Jean-François 48
Beirne, Joe 77–78
Belly of an Architect, The 85–94
Bentham, Jeremy 24–25
Berlin 65–67, 71, 242
Berlin – Symphony of a Great City 67–69, 71
Bernini 59
Blade Runner 155
Blobitecture 302–303
Blondel, Jacques-François 90
“body-in-the-world” 271–274
Boissière, Oliver 277
Bond, James 35–40, 155
Boullée, Etienne-Louis 85–94
Brentano, Franz 269
Building in France, Building in Iron, Building
in Ferroconcrete 68
C
Cabinet of Doctor Caligari, The 155
Cangrande II della Scala 48–49
Canova, Antonio 49
Capitoline Hill War Museum 87, 89
Carabiniers, Les 11–18
Cartier Foundation 6, 80–81, 267–278
Casebier, Allan 273, 275
CCTV 24–29, 70, 143–147
Cebada Market 178
Cenotaph for Isaac Newton 89–91
Chapel for the Dead 90
Chaplin, Charles 18, 99
Chomsky, Noam 111
Church of San Carlo alle Quattro Fontane 59
Church of Santí Andrea al Quirinale 59
Church of the Year 2000 300–301
CIAM 67, 70, 100
Cinema 1, Cinema 2 299
Cinematic House 157
cinematographic space; cinematographic x, 4, 6, 161–171, 177, 186, 242, 259, 311, 315
construction x, 4, 6, 161–171, 177, 186, 242, 259, 311, 315
Cinerama 134, 275, 279
CinemaScope 275
Citizen Kane x, 161–173
Close up 39, 40, 45–48, 88, 112, 184, 211–212, 288, 314
Complexity and Contradiction 113
Composition; compositional; Compositional device 46–50, 58, 60, 78–82, 87–93, 103–105, 112, 136–137, 163–171, 177–187, 204–225, 240–261, 273, 294–297, 313–314
“compositional and choreographic factors” 163
“conceptual strategy of transference” 184
Conical Cenotaph 90
Content 70–71
Continuity, Continuity system 14, 164, 166–167, 178, 187, 259
continuous shooting 58, 114
Cook, the Thief, the Wife and Her Lover, The 87
Coop Himmelb(l)au 289
Corbusier, Le x, 6, 219–233, 260
Cut x, 3, 14, 33–40, 46, 78–83, 112, 116, 164–169, 182–185, 243, 251, 259–261, 314
D
Das Experiment 21–29
Death of Marat 88
Death of Socrates, The 88
Debord, Guy 99–103, 213, 291
Deconstruction 69, 287–303
Deep space composition 81, 164, 169, 185–187, 240, 247–249, 261, 273, 314
Defamiliarise; defamiliarisation 125–126, 138, 290, 293
Delerious New York: a Retrospective Manifesto 69
Deleuze, Gilles 157, 226, 251, 287, 298–304
Depth of field; depth plane 80–81, 105, 126, 138, 164, 168–169, 185, 240, 245–246, 261
Dérive 65, 101
Détournement 103–104
Diller, Elizabeth 5, 21–29, 143–150, 155, 158, 188, 314
Discontinuity 179, 287–288
Disjuncture 294
Dr. Strangelove 35
Dudley Andrew, James, 273
DuMont Schauberg project 82
E
Eco, Umberto 13–16, 295
Echoes (performance) 134–135
Editing x, 4–5, 13, 66, 77–78, 116, 163, 177–179, 212, 251, 253, 259, 261, 273–274, 290
Eisenman, Peter 7, 69, 287–289, 293–294, 298, 300–304
Eisenstein, Sergei x, 3, 6, 156, 177–180, 219–233, 273–274, 291, 298, 314
El cine: un laboratorio de Arquitecturas 157
Enlightenment 87, 93
Escher, M.C. 104
ESSO building 101
Establishing shot 165–167, 184–185, 257–258, 262
Existential, existentialism 30, 112, 270
Eye line match 314
F
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