Cinematic Architecture and Place Perception: A Study on Wes Anderson's Film the Grand Budapest Hotel (2014)

Alp Karaca, Pelin Agocuk


Although there are many differences and innovations in creating place in cinema, virtual spaces can be created as well as using real architectural urban or physical environments. The perception of time, which is an important element that improves the narrative language of cinema, is related to creating an architectural and spatial image. Cinema and architecture, as two separate disciplines, are not independent from each other in terms of creating a cinematographic place perception. Therefore, the importance of cinema and architecture interaction in creating cinematic place is discussed in this study. The aim of the study is to examine the relationship between architecture and cinema, which are two separate art branches, through the "perception of place" and to explain the cinematographic effects of architecture through the example of Wes Anderson's "The Grand Budapest Hotel". In both areas, it has been tried to explain to what extent the place's important elements in terms of time, movement, light, color and shadow reflect the reality. While "design" is an important issue in fictional places, it is also necessary in terms of creating a space perception. In this study, it is aimed to analyze the film structure with architectural semiotic approach, especially the role of architectural and space usage in cinema, by emphasizing the processes and reference points of the interaction between both disciplines. According to the case of Wes Anderson's The Grand Budapest Hotel (2014), the specific spaces of the film, the perception of space and the role of cinematographic space designs are discussed. In line with this information, subjects such as space design and spatial density in cinema, space, balance, harmony and symmetry in architecture and cinema, construction process and its effects in cinema and the perception of space in cinema were examined. The architectural structure and the suitability of the space design to the story are also discussed in the film. The film, which is considered as an exemplary analysis within the scope of the research, was chosen as a purposeful sampling because it is an example of especially the relationship between harmony and balance in cinema and the relationship between cinema and architecture explore and sets an example.

Keywords: cinema and architecture, perception of place, place design of cinematographic

DOI: 10.7176/JSTR/7-04-08

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ISSN (online) 2422-8702