Journal of the Architectural Institute of Korea Planning & Design (대한건축학회논문집:계획계)

Architectural Institute of Korea (대한건축학회)
권호 표지
DOI QR코드

DOI QR Code

A Study on the Piranesian Space in Christopher Nolan's Film - Focused on the Movie 'Inception' and the Etching 'Le Carceri' -

크리스토퍼 놀란의 영화에 나타나는 피라네지 공간에 관한 연구 - 영화 인셉션과 동판화 카르체리를 중심으로 -

  • Received : 2016.11.16
  • Accepted : 2017.01.05
  • Published : 2017.01.30
⟨ Previous Next ⟩

Abstract

The eighteenth century witnessed the emergence of various debates and polemics in aesthetical theory. In this shifting period, visionary architect, Giovanni Battista Piranesi explored the new spatial possibilities through the medium of engravings. He challenged the limits of classical language of architecture and its representational setup, and elaborately surpassed the boundaries to create a ground for new spatial conception. Integrating architectural fantasies as the means of formal analysis of space, his experiments produced a new notion of space which allows constant redefinition and infinite reinterpretations. Based on this constantly redefining nature and renewing capability of his idea, this study is intended to reinvent the concept of 'Piranesian Space' through the analysis of inherent characteristics represented in his etching Le Carceri. In an attempt to generate a link that connects Piranesi's idea to contemporary spatial art, this study applies this concept of Piranesian Space as an analytical framework to examines the space in Christopher Nolan's film Inception. Ultimately, the purpose of this study is to investigate the corelation extant between Piranesi's thinking and contemporary architectural and spatial discourses.

Keywords

References

  1. Bordwell, D. (1993). The Cinema of Eisenstein, Cambridge, Harvard University Press, 247-248.
  2. Choi, B. (2016). Shape of Space-Time in Piranesi's Prisons of Invention, Journal of Korean Society of Media & Arts, 14(4), 14.
  3. Ficacci, L. (2006). Piranesi: The Etchings, Koln, Taschen, 6-39.
  4. Fisher, M. (2011). The Lost Unconscious: Delusions and Dreams in Inception, Film Quarterly, 64(3), 45.
  5. Jacobs, S. (2016). Eisenstein's Piranesi and Cinematic Space, Aspects of Piranesi: Essays on History, Criticism and Invention, Ghent, A&S Books, 143-159.
  6. Kim, J. (2005). Architekturbilder von Juvarra und Piranesi, Reviews on the Art History, (25), 375-400.
  7. Kim, H. (2008). A Historical Analysis on the Spatial Characteristics of Architectural 'Capriccio' in the Piranesi Etching 'Le Carceri', Journal of the Korean Institute of Interior Design, 17(6), 11-20.
  8. Lee, J. & Kim, H. (2013). A Study on the Film Image of Unusual Space, Journal of the Korean Society of Design Culture, 19(3), 618-626.
  9. Shin, S. (1997). The Re-reading of Modernity in terms of Piranesian 'Theatricality', Thesis, Seoul National University, 68, 85.
  10. Son, S. (2011). A Study on the Space of the Movie , Film Studies, 47, 140.
  11. Tafuri, M. (1990). The Sphere and the Labyrinth, Avant-Gardes and Architecture from Piranesi to the 1970s, Cambridge, The MIT Press, 26-34, 65-90.
  12. Vermandel, F. (1996). Euralille - Project for a City, Euralille: The Making of a New City Center, Basel, Birkhauser, 22-25.
  13. Wilton-Ely, J. (1978). The Mind and Art of Giovanni Battista Piranesi, London, Thames & Hudson, 81-83.
  14. Wilton-Ely, J. (1993). Piranesi as Architect and Designer, New York, Yale University Press, 12-14.