Sailing along the Network I have found an old page of the Foundation Telefonica where there are all the conferences that gave in the course Projections and Utopias of the Forefront, The development of the architectural modernity I dress across the history of the cinema, between October 9 and November 13, 2007 developed in the headquarters of the Telefonica in the Great Route of Madrid. The course it directed with ferreous hand David Rivera and the referees we were on order of intervention, the perpetrator of this blog, Vicente Sanchez-Biosca, Jose Manuel García Roig, Andrés Hispano, the own David Rivera Gámez and Iñaki Ábalos.
I they remember that was published a book, which cover I reproduce, by the conferences.
Certainly that I have not met, because it gives me a frightful shame, but yes I have been useful to see to other referees and assure them that there are marvellous interventions. If they want to see and to hear the presentations, it is enough to puncture here.
I reproduce later the beginning of my article «Projections and Utopias of the forefront: The modern architecture in the fantastic cinema (1920 – 1950)», published in the book before mentioned:
«The famous architect Viennese Hjalmar Poelzig joins slowly in his bed, is by night and only his physiognomy is felt thanks to his black silhouette cut away on a translucent illuminated screen behind. Poelzig actually is one of the personification of the Englishman William Henry Pratt, more known by the pseudonym Karloff, and one of the protagonists of the movie titled in Spain Satan, though his original title was The Black Cat, directed in 1934 by Edgar George Ulmer.
I.- 1920, Germany
Fourteen years behind, Berlin summer of 1919, one twenty-nine-year-old young person, who is employed as interior decorator at Max Reinhardt’s theatrical company, it is going to be two months in unemployment; accidentally one finds a friend, the set designer Rochus Gliese, who proposes him: why you do not come with me and are employed at a movie? He answers him: what class of work, if already they have a set designer in the movie, the teacher Poelzig? But it ends being left to convince for Gliese, the work initially consists of cutting silhouettes away to put them in front of the chamber. The movie would title The Golem and the young person was called Edgar G. Ulmer. Many years later the own Ulmer was telling him Peter Bogdanovich who after being employed two weeks at the movie ” was constructing sets, because it was not mattering for Poelzig» .
1920 was a decisive year for an art which spectators already were taking a quarter of century paying for seeing it. This year there had the premiere in Germany The office of the Dr. Caligari (Das Cabinet des Doktor Caligari, Robert Wiene), Genuine (Robert Wiene), The Golem (Der Golem, wie er in die Welt kam, Paul Wegener) and Algol (Hans Werckmeister). All of them belong to the fantastic kind and by the aspect of his spaces they have been considered inside the expressionism.
The place is not this to define the fantastic kind, is enough with the intuitive and simple notion that is had on the movies that can be grouped in this kind. Neither one is going to affect in the relations between the architecture and the so called cinema expressionist, that already they have treated each other in other occasions, yes it is necessary to repeat the enormous differences that exist between the most ample relation of movies included by some authors in this movement, which characteristics have slightly jointly between yes, since likewise expressionist happens to him to many works and projects of the architecture also named. More realistic it is Jürgen Kasten’s thesis, which he considers to be only seven tapes expressionists.
Undoubtedly the most famous of them it is The office of the Dr. Caligari, which enclosed generated the adjective “caligarism”, his strange spaces justify themselves because they are a part of the dream of the protagonist, but in Genuine, Wiene’s following movie, there is no any justification for a few spaces, as those of The office of the Dr. Caligari, where the prominent figures stroll between sloping planes, full of lines and geometric figures, often compared contemptuously with identical curtains, they reducing importance for being an imitation of the theatre, when actually they are more advanced than different of contemporary movies, a few spaces created by the painter, set designer and interior decorator of interiors Cesar Klein.
The complete title of this movie is Genuine, die Tragödie eines seltsamen Hauses (Genuine the tragedy of a house surprises) because the majority of his footage passes in the house where there is confined the protagonist, who dominates the men of his environment thanks to his esoteric power.This house has several amazing interiors, two bedrooms with walls full of broken lines and a strange room, where finally they murder the protagonist, with wheels jagged in movement and other useless devices; to accede to his interior it is necessary to cross a conventional enough garden, but it has an extraordinary front constructed in three dimensions, difficult to fit inside the expressionism and which is anticipated many years to those of professionals’ buildings as for example Robert Stern and others of the postmodern architecture called of the eighties, confirming that the formal analogies, so often used by several authors, who demonstrate his ostentations handling visual information, they do not have any more foundation than remote similarities in his morfologías, without being able to go deeply into other theoretical aspects»…
Since always, if they want to continue reading it they will will to acquire the book that, as I believe, still it has not become exhausted and edited by The Factory.
Jorge Gorostiza, arquitecto. Author of the blog Arquitectura+Cine+Ciudad
Santa Cruz de Tenerife, march 2011
I reproduce later the beginning of my article
Doctor arquitecto, proyecta y construye edificios y desarrolla trabajos de urbanismo. Desde 1990, publica numerosos artículos sobre cine y arquitectura en medios de su localidad, revistas como Nosferatu, Nickleodeon, Academia, Lateral, Cahiers du Cinema… y en varios volúmenes colectivos. Entre el 2000 y el 2005 dirige la Filmoteca Canaria. Imparte conferencias sobre arquitectura y cine en instituciones como el CAAM en Gran Canaria, la UIMP, el CENDEAC en Murcia, INCUNA en Gijón, Fundación Telefónica, la ETS de Arquitectura y el CCCB de Barcelona, las ETS de Arquitectura de La Coruña, Sevilla, Valencia y SEU madrileña, La Ciudad de la Luz en Alicante, la UNED en Pamplona, en varios colegios de arquitectos, así como en las universidades del País Vasco, Gerona, Valladolid, Málaga, Granada, SEK en Segovia y CEES de Madrid. Jurado en varios festivales cinematográficos, como los de Alcalá de Henares (2001), San Sebastián (2002), Sitges (2003), Las Palmas (2005) y Documentamadrid (2005), y comisario de las exposiciones Constructores de quimeras. (Centro Conde Duque, Madrid, 1999) y La arquitectura de los sueños (Capilla del Oidor, Alcalá de Henares, 2001).
He publicado bastantes libros y muchos artículos, he impartido conferencias, he sido comisario de exposiciones y jurado en muchísmos festivales. Si quieren saber más no duden en consultar mi blog ARQUITECTURA + CINE + CIUDAD.