CONTENTS
Abstract vii
Acknowledgements ix
Contents . xi
List of tables xiii
List of figures xv
1 Introduction 1
1.1 Cinema and Architecture 2
1.2 Understanding how spaces are imagined in cinema 5
1.2.1 Phenomenology behind designing spaces in cinema 8
1.2.2 Storyboard and Narrative in Cinema 10
1.3 Why studying Sci-Fi thriller Genre 11
1.4 Research Methodology 15
1.5 Scope and Limitations 16
1.6 Need for the Study 16
2 Literature Review 17
2.1 A Literature review of an architect writing on spatiality and cinema 17
2.2 A Literature review of a Film critic writing on spatiality and cinema 21
2.3 A Literature review of a Film critic and Phenomenologist writing on spatiality
and cinema 25
2.4 Points of confluences and exceptions from Literature review 28
2.5 Established Parameters of Analysis 29
2.5.1 Focus and Subject 29
2.5.2 Scale and Proportion 29
2.5.3 Use of Lighting in the Space 29
2.5.4 Colours, Textures, and Materials 30
2.5.5 The Depth of an image 30
2.5.6 Geometric relations with vision 30
xii Learning from Cinema: The architecture language of spaces in Study of sci-fi thriller genre
2.5.7 Boundaries or openness of space (quality of space) 31
2.5.8 Use of Spatial voids 31
3 FRAME BY FRAME ANALYSIS 33
3.1 Blade Runner 2049 (2017) 33
3.1.1 Frame 1 37
3.1.1.1 Analysis of the frame 37
3.1.2 Frame 2 43
3.1.2.1 Analysis of the frame 43
3.1.3 Frame3 49
3.1.3.1 Analysis of the frame 49
3.1.4 Frame 4 55
3.1.4.1 Analysis of the frame 55
3.2 Inception 59
3.2.1 Frame 1 63
3.2.1.1 Analysis of the frame 63
3.2.2 Frame 2 69
3.2.2.1 Analysis of the frame 69
3.2.3 Frame 3 75
3.2.3.1 Analysis of the frame 75
3.2.4 Frame 4 81
3.2.4.1 Analysis of the frame 81
4 Inferences from the Frame by Frame Analysis 87
4.1 The common parameters used to create spatial expereinces in the frames 87
4.2 The distinguishing parameters in the movies used to create a specific spatial
experiences in the Frames 89
4.2.1 Blade Runner 2049 89
4.2.2 Inception 93
5 Conclusion 97
References 101