Проєкції жанрів кінематографу на архітектурне середовище

Abstract

Дана робота є продовженням дослідження авторкою методів створення сюжетної структури фільму в кінематографі та їх застосування в аналізі архітектурного середовища та при сценарному підході в його проектуванні. Стаття присвячена розгляду головних літературних та кінематографічних жанрів та їх проєкцій на архітектурне середовище, що є важливим при програмуванні вражень та емоцій під впливом його сприйняття.

This article is a continuation of the author’s research on the methods of creating the plot structure of the film in cinematography and their application in the analysis of the architectural environment and with the scenario approach in its design. The article is devoted to the consideration of the main literary and cinematic genres and their projection onto the architectural environment, which is important when programming impressions and emotions under the influence of its perception. As a result of the study, we found that due to our human ability to endow all inanimate with anthropomorphic features (it forms our perception of the surrounding world) we can transfer the literary, theatrical, and cinematic genres to the architectural environment of the city and analyze its influence on our perception. The first division into genres, which Aristotle made, concerned literary genres, later theatrical genres and movie genres came out of them. In the architectural environment, as in cinema, it is impossible to clearly distinguish one genre - all of them are mixed, and one part of the urban space can have features of either one genre or others closely intertwined. However, we note that most often urban architectural space has the features of drama - a genre in which acute conflicts exist, but they are resolved, dynamic plot, however, with a small number of events and characters, usually with one storyline, although there are secondary ones, they are poorly developed and subordinate to the main one. Tragedy and comedy in an urban environment occupy local places and, as a rule, do not last long. As in the cinema, in the architectural environment, the mood for certain emotions and perceptions is important. When a viewer chooses a movie based on an advertising poster, he knows what emotions he will “consume”. The same attitude is important for the viewer / consumer of the architectural environment: for calm and discharge of consciousness we go to the park, for aesthetic impressions we go to another historical city, for thrills - to the place of entertainment and attractions. Therefore, this knowledge allowed us to correctly build the plot composition of the perception of the architectural environment.