Today the viewer is no longer a passive subject that supports what the channels emit, but he chooses his own programming, thanks to the fact that the television also receives what is broadcast by other devices. Despite this, the television receiver is still an artifact with which we live in all houses and in most public establishments. In this moment of change it is fundamental to remember and analyze what happened then, when this device appeared, becoming an intruder that affected both the lives of all citizens, as well as the places where it was installed.
In this book we reflect on the powerful influence of this stranger, which began with the choice of where the receiver should be; its impact was so great that it managed to modify the landscape of the cities with the antennae that bloomed on top of the buildings; once installed, the televisions had to fulfill their function and were also furniture that was incorporated into the domestic decoration; television also affected people and we had to find the right place to be passive beings in front of the recipients; the intruder generated reluctance, predicting all kinds of risks, which affected the areas where the recipients were placed; the programs that were broadcast caused that for the first time the fiction burst with impetus in unpublished places, causing unsuspected effects; and all this not only occurred in the domestic sphere, but also in public spaces and in others created for the new medium.
The author lived through all these changes, so it is inevitable that their experiences become inescapable references to provide a personal point of view, which complements data, which today are anachronistic, but were fundamental in society at that time.
About the Author
Jorge Gorostiza is a doctor of architecture, designs and builds buildings and develops urban planning works. He publishes numerous articles about cinema and architecture in his local media, magazines such as Nosferatu, Nickleodeon, Academia, Lateral, Cahiers du Cinema … and in several collective volumes. Author of the books Cinema and Architecture (1990), Peter Greenaway (1995), Artistic Directors of Spanish Cinema (1997), The Assumed Image (1998), Having and Not Having / Casino (1999), Chimera Builders (1999), The office of actor. José Manuel Cervino (2001), The architecture of dreams: interviews with artistic directors of Spanish cinema (2001), Blade Runner (2002) and David Cronenberg (2003), the latter two in collaboration with Ana Pérez, as well as Gerardo Vera, reinvent reality (2005) and the depth of the screen, architecture + cinema (2007) and urban Panoramas: 50 essential films about the city (2016). Between 2000 and 2005 he directed the Filmoteca Canaria. He teaches architecture and film at institutions such as the CAAM in Gran Canaria, the UIMP, the CENDEAC in Murcia, INCUNA in Gijón, the Telefónica Foundation, the ETS of Architecture and the CCCB in Barcelona, the ETS of Architecture in La Coruña, Seville, Valencia and SEU from Madrid, the City of Light in Alicante, the UNED in Pamplona … in several colleges of architects, as well as in the universities of the Basque Country, Gerona, Valladolid, Malaga, Granada, SEK in Segovia, CEES of Madrid, UDP in Chile, UCR in Costa Rica and UCAL in Peru. Keynote Speaker in Inter [sections] in Oporto (2013). Jury in several film festivals, such as those of Alcalá de Henares (2001), San Sebastián (2002), Sitges (2003), Las Palmas (2005) and Documentamadrid (2005), and curator of the Chimera Builders exhibitions. (Centro Conde Duque, Madrid, 1999) and The Architecture of Dreams (Capilla del Oidor, Alcalá de Henares, 2001)