Abstract
With the success of the BBC and PBS series such as Italy’s Invisible Cities (2017), Ancient Invisible Cities (2018), and Pompeii: New Secrets Revealed (2016), made in collaboration with ScanLab and employing LiDAR scanning and 3D imaging techniques extensively, popular television programmes grasped the aesthetics of spectral 3D mapping. Visualizing urban topographies previously hidden away from view, these shows put on display technological prowess as means to explore veritably ancient vistas. This article sets out to investigate cinematographic devices and strategies – oscillating between perspectives on built heritage championed by two figures central to the 19th-century discourse on architecture: Eugène Emmanuel Viollet-le-Duc and John Ruskin – manipulating the image in a rivalry for the fullest immersion into a traversable facsimile of past spatialities.
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