The authoress examines how film and architecture, coupled with the viewer's sensitivity, is involved in the building of own time and space, and, similarly, how this interaction helps create a mental (experienced) space despite the essential difference in the way the imagery of film and architecture exists (material in architecture and illusory in film). In her view, as far as individual experience is concerned, film theory adds, among other things, a concept of editing to a dictionary of architectural terms. She also touches on the issue of corporeality (of the author and the audience) that determines relations within our visual space, also discussed are the issues of editing in the camera and inter-frame editing. She explains the category of (real/formal) transparency in architecture and film, and compares film-set movement, framing in architecture and film.
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
SYNAT - “Interdisciplinary System for Interactive Scientific and Scientific-Technical Information”.