IMAGINARY CITIES

The cinema has increased the quantity and quality of all possible worlds, imagined spaces in which make us want more or less to live.

Real places, imaginary places, mental locations. Places invented by film or by the redesigned sites are necessary for the development of the film, or “normal” places made memorable and symbolic by the film itself.

There are films that convey a strong sense of familiarity and lead in places that seem familiar and reassuring that we consider. The film offers at least once a place where we wanted to living.

In the imaginary city’s world, represented in the cinema, there has never inveted anything without reason or without reference especially withour a specific purpose.

Because, you know, the city is built, or should be built, on a human scale. Analyze its evolution, through what is urban and architectural imagination about the future and the past, means to analyze the “socialist”, means to analyze what the man believes it’s important to preserve of the past and what both expect to find in its future.

Behind an invented city there are fears, hopes, anxieties and desires. Some of there cities can also be seen as warnings for our future or represent our progress in the past or may still find what we lost in the present.

The filmmakers are inspired by a myriad of architectural influences, partly because the architects are responsible for inventing the environments in which humanity will evolve iin the decades to come. But also our personal spaces are more and more “cinematic” and influenced by digital visions of possible futures.

In old films, the future seemed so far away, whereas in the XXIcentury, it is approaching rapidly. We already live in the future and mankind is trying to invent a sustainable future. The sci-fi movies are increasingly becoming touchstones, statements concerning the unresolved issues. With the invisible networks’ information growth, science fictions’ environments are related also to digital space realities and to human’s changing relationships with their town.

As architecture, even movies have become part of our daily life, of memories and our subconscious, the images we have provided have made us familiar, place and environments we have never been. Going to New York for the first time is not really like the first time, Manhattan skyline and its buildings are part of our memory, there isn’t a sense of visual wonder that we can have when we see somthing for the first time.

New York is the megalopolis, a monumental and in movement city, that became a cultural and architectural reference. It can be considered as a violent metropolis, extrange and enemy and at the same time the lights and vital city. New York resume perfectly the technology and the promised land’s myth. Not for coincidence remain the most represented city in the film.

Architecture helps films to comunicate with its public, offering recognizable scene and cinema helps architecture giving attention to the represented buildings, showing them sometime with details and letting people living those unexplored places.

The analogy we can notice in those two arts has to say thank you to cinema and its ability to show how to live the city; both are trying to give attention to hidden aspect of the society, as the future desires.

The relationship between cinema and architecture can also be read in the key of archivial function, for example, for the historical films’ images that document the architecture and urbanism in a realistic past way.

A similar function is made also in the fantastic films that documenting the typical imagery architecture of a period to which we can reconnect a society study (take for example the city of Metropolis or Blade Runner’s Los Angeles, both shows fears and expectations about the future in the 20s and in the 80s).

Filmic spaces are released from the primary architectural features and can let past architectures reviving and lead us to fantastic worlds completely made up, subjected to rules that would be impossible in reality.

Reality is the architecture place and cinema is the representation space. Cinema gives the possibility to show other realities and fiction realities not recognizable, without spatial and temporal references.

We can say that architecture and cinema are two major arts, their greatness lies in the projects’ size, in the things’ imaginary, quantity and quality.

Cinema is a “wonder plant”, Michael Cimino says: “Cinemas are the spaces, scenarios and the bigness that they provide”. The same goes for architecture.

Cinema assumed an important role in the living way and in the city perception, creating a sort of representations’ collection, through wich our century has built its architecture.

It can be conseidered a knowledge tool of the urban context and it represents the city, speaks of it and decribe it in all its aspects: the physical city and the social city, memory and future’s one. The spectator, watching that cities, enrich its cultural baggage, those images are overlapped and confronted between them so that they can built a defined ideas of the different urban space and realities.

We can say that sometimes cinema is a filtered reproduction of the reality; filtered cause isn’t showing everything but anyway it will leave a mark on the spectator. This mechanism can be traslated onto reality, considering the city as a needs exterior of the inhabitants and architects’ideas. City and cinema are the expressions of the communications’ intentionaly of the directors who describe worlds from new points of view.

You will notice that most of the films in which one can analyze the urban imagery is produced in the U.S. at the expense of European ones.

In American cinema the city is also used as an expression of the society and of a particular moment that it is experiencing, sometimes appears as the protagonist, take for example The 25th Hour (Spike Lee, 2002). Here New York City is the absolut protagonist, the main character walking through its streets tells us all its details, as a human being.

In the European film industry, the urban image is often relegated to the background, suddenly is the protagonist, it’s not playing a main role compared to society, it’s a just stage for the characters.

The contemporary italian cinema seems to miss interest on representing architecture or urban utopies, maybe because is a poor cinema compared to the international one, based on improvisation, that give importance to the acting instead of decor.

U.S. productions are more interested in representing the city as a mirror of society, making it the stage of our fears and our desires for the future. These are productions that make use of classical architecture or rationalist one, typical of two decades of dictatorship in Europe, to bend them to their needs.

It’s not a case, as was mentioned above, the Rome’s rationalist architecture is often used as a symbol of a urban sociology where there is a geometric rigor that is reflected in a “dry” society.

As many cities have influenced the film, many films have influenced the architecture. Some very futuristic cities have been imagined before being realized; they have created life conditions dominated by technology, where some buildings are used to project images and sounds, buildings that today we can find in major cities.

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