Cinematic Space Research Articles

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

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

The crystal reveals the whole: medieval dreamscapes and cinematic space as virtual media

This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

Visual Communication for Students’ Creative Thinking in the Design Studio: Translating Filmic Spaces into Spatial Design

Representing visual experiences is an essential part of architectural design education for creativity. The representation of creative ideas relates to the ability to communicate spatial design concepts. This study examined whether filmic spaces could function as visual communication to enhance students’ creative thinking in architecture. It explored how creativity can be supported throughout an architectural design studio with a conceptual tool that translates filmic spaces into spatial design. To investigate the ways to translate filmic space into spatial design tools for creative thinking, we conducted a design studio with first-year university students. Focusing on using various elements of film, including movement, frame, montage, light, and color, and scene changes to represent architectural languages, a curriculum was developed and implemented in a Visual Communication Design Studio for one semester, stimulating students to engage in expressing their ideas in three-dimensional spaces. The overall results suggested that the design education method that used the filmic space as a stimulating tool for creative thinking, emphasizing the role of visual communication, could enhance students’ creative thinking, leading to improved creative design processes.

Images in Suspension: Tableaux Vivants, Gesturality and Simulacra in Raul Ruiz’s film The Hypothesis of the Stolen Painting

Abstract The article discusses Raul Ruiz’s film The Hypothesis of the Stolen Painting (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of mise-en-abyme images that explore the multiple universe of tableaux vivants. The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of simulacra. The structure of The Hypothesis of the Stolen Painting is based upon the infinite reproduction of meaning since each simulacrum-tableau vivant leads to another. The author explores the gesturality of the bodies and its relevance to the use of language and sound in the film. Furthermore, he argues that Ruiz orchestrates the placement of the tableaux vivants in the filmic space in order to reveal the thought of eternal return.

Image, Environment, Infrastructure: The Social Ecologies of the Bergfilm

The German mountain film (Bergfilm) has received extensive critical attention for its political, social, and aesthetic implications, but has received remarkably little attention for its role in the environmental history of the Alps. This article considers the Bergfilm within the long history of depictions of the Alps and the growth of Alpine tourism in order to ask how the role of media in environmental change shifts with the advent of film. The argument builds on Verena Winiwarter and Martin Knoll’s model of social-ecological interaction, Adrian Ivakhiv’s theoretical framework for the environmental implications of film, and Laura Frahm’s theories of filmic space. Through an analysis of Arnold Fanck’s films Der heilige Berg [The Holy Mountain, Fanck 1926] and Der große Sprung [The Great Leap, Fanck 1927], which are compared with Gustav Renker’s novel Heilige Berge [Holy Mountains, Renker 1921] and set into the context of the environmental history of the Alpine regions where the films were shot, the author argues that film aesthetics serve as a creative catalyst for environmental change and infrastructure development. While some ecocinema scholars have argued that environmental films teach viewers new ideas or change modes of behavior, this analysis suggests that film aesthetics are most effective at accelerating processes of environmental change that are already underway.

РУССКИЙ КОСМИЗМ И ОБРАЗ КОСМОСА В РОССИЙСКОМ КИНЕМАТОГРАФЕ XXI ВЕКА

The object of the research is the illustration of cosmic space in Russian cinema of the XXI century as a reflection of the traditions of Russian thinking, as well as a plastic model of the Russian reception of globalism in the new century. Research methods: general scientific methods of analysis and synthesis; a phenomenological method for identifying the intentions of a visual image; semiotic approach, allowing to analyze the structural and semiotic integer of a movie. As a result of the study, the authors conclude that the Russian screen model of cosmic space as organically rational integrity, comprehended in the intellectual and moral traditions of Russian mentality of the 19th – 20th centuries, represents a positive alternative in the spiritual reality of the 21st century.

Soundscapes of the Pernambuco New Cycle of Cinema

This article explores Raymond Murray Schafer’s concept of “soundscape,” specifically in its relation and applicability to the discussion of the construction of space in cinema (Prysthon, 2017). We begin by reviewing the concept in Schafer (2001) and consider its pertinence to the study of sound design. Then, we investigate how the relation between soundscapes and sound design presents itself in the works of two successive generations of the Novo Ciclo de Cinema Pernambucano (Nogueira, 2009). Lastly, we point to ways in which those films represent the sounds of Northeastern Brazil, sometimes denying, sometimes identifying with the notion of the “invention of the Northeast,” advanced by Durval Muniz de Albuquerque Jr. (1993).

Where Histories Reside: India as Filmed Space by Priya Jaikumar

Reviewed by: Where Histories Reside: India as Filmed Space by Priya Jaikumar Pamela Robertson Wojcik (bio) Where Histories Reside: India as Filmed Space by Priya Jaikumar. Duke University Press. 2019. 416 pages. $109.95 hardcover; $29.95 paper; also available in e-book. As the disciplines of film and media studies have expanded and diversified, with academic publishing following suit, there has been a much-needed decentering of the field but at the same time a tendency toward siloing. While many of us may have interests that align with more than one subfield, few of us read broadly across the plurality of subjects that constitute the larger fields of film and media studies; instead, we tend to focus more closely on one or a few specific areas or approaches, and our cloistered views sometimes prevent us from noticing books that may be vital to our interests. Even more interdisciplinary fields, such as area studies or spatial analyses, can become insulated specialties. A cursory glance at Priya Jaikumar’s book Where Histories Reside: India as Filmed Space might point one to consider it predominantly a book about Indian cinema, mainly of interest to those who specifically focus on the expansive Indian film industry. The Indian case study may lead someone who works on film and space but tends to focus on Europe or the United States to think it beyond her ken. However, Where Histories Reside not only illuminates how India has been filmed, negotiated, misrepresented, shaped, maligned, and celebrated in various cinematic forms but also offers a theorization of filmed space in general. Jaikumar is interested in both filmic space, the space within the film frame, and filmed space, the “captured artifact of an encounter between a camera and its environment.”1 In focusing on India, Where [End Page 204] Histories Reside seeks to displace film theory and criticism from its normative attention to “one (Western) modality of capitalism and modernity” and consider India not as Other but as operating in tandem with Western cultures in “mutually implicated histories of global modernity.”2 Through an analysis of filmed space in India, Jaikumar works to unseat assumptions within film theory, and especially within approaches to space, that take for granted European and American reference points. Offering a critical spatial film historiography, Where Histories Reside breaks down the notion that cinema’s indexicality gives it a privileged connection to reality and dislodges “the centrality, though not the significance, of cinema’s representational space” to focus on the ways in which Indian space and cinematic space are both constructed via “multiple underlying determinants of a moment, not only in time but also in space.”3 More than simply broaching the spatial turn in film studies, Jaikumar brings to bear on her spatial analysis of India other approaches to cinema, including the perspectives of history, the law, government, education, media industries, archival research, labor practices, authorship, and colonialism. Her analysis further draws on prior studies of feature filmmaking, useful cinema, documentary, travelogues, and Indian and European filmmaking. Where Histories Reside shows the deep interconnectedness of the many approaches needed to understand cinema and filmed space as well as the complex interplay between and among “states, institutions, economies, societies and ideologies” that constitute filmed space.4 The book aims to show how space is both a product of and an agent shaping human life and social relations; it further posits the persistence of spatial logics that exceed a normative Western spatial understanding. Overall, it convincingly argues for understanding the situatedness of film in space and synchronically through complex interwoven histories. Where Histories Reside attends to the way in which the colonial imagination shapes perceptions of Indian space. In a chapter dealing with what she calls disciplinary space, Jaikumar shows how educational British geographic films inculcate an “imperial understanding” in school children and highlight intersections between the visual practices of geopolitics and geography.5 Indian Town Series films, intended to teach British children about Indian geography, flatten differences between places in India or places with connections to India that have “distinct roles in imperial administration”— including Afghanistan, Darjeeling, Bikaner, and Udaipur— to focus on “vocation or ethnic types of inhabitants . . . an incongruous range of transportation (camels...

Gazing on Pas-de-Calais: The Romance and Nostalgia of “The Tourist’s Gaze” in Pas son genre (Lucas Belvaux, 2014)

This article argues that the re-presentation of space and place for global and local audiences constructs a touristic cultural imaginary. It highlights how – through the feature film Pas son genre/ Not my type (Lucas Belvaux, 2014) – the audience’s gaze is centred on two cinematic spaces: the historical architecture of city centres and their local and cultural traditions and the ‘icons’ of global tourism, such as beaches. The article highlights how Urry’s foundational concept of the “the tourist’s gaze” is articulated through the movements of the characters, who organise the inter-relationships between cities, towns, and events. The analysis shows that it is precisely this romantic relationship between the characters and how they experience the region of Pas-de-Calais, i.e. one as a local, and one as a visitor from Paris, that organises the snippets of the region and how they are experienced and interpreted by the spectator. The locations of Paris and, more importantly, Arras (and the region of Pas-de-Calais) offer layers of textual meaning that show the act of falling in love as aligned with the beach and the experience of the city, and a nostalgic yearning for tradition and customs present in small town contexts. The recognisable codes and icons of the Pas-de-Calais region are viewed by spectators through the lens of the characters and their immediate experiences that nuance the cinematic spaces.

ОСОБЕННОСТИ СТИЛИСТИКИ РОССИЙСКИХ АРТ-ФИЛЬМОВ НАЧАЛА XXI в.

Contemporary Russian theater and cinema are approving a new aesthetic paradigm that implements such principles of postmodernism as deconstruction, relativism, a mixture of various types, genres, and stylistic devices. The purpose of this article is to identify the most characteristic stylistic features of Russian arthouse films of the 21st century. The author’s task was to show that this style is not something radically new, as some art critics and cultural experts try to present. Using the methods of hermeneutic, art history and comparative analysis, the author identifies the methods and techniques of creating a special art space that are characteristic of modern Russian arthouse. These are combining real and conditional, concrete and symbolic, psychology and parable, recognition of everyday realities and explicit functionality of the characters. Based on the idea expressed by a number of scientists that there is much in common between the state of the modern world (that is, what is now called postmodernism) and the public consciousness of the Middle Ages, the author of the article puts forward a hypothesis about the similarity of the stylistic techniques of the Russian arthouse with the aesthetics of the Middle Ages. First of all, arthouse films bring closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, in particular, combining a realistic image with a parable form and symbols and an artistic interpretation of space as a background that weakly interacts with characters. First of all, Russian arthouse films brings closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, using, along with a realistic depiction of the parable form and symbols and artistic interpretation of space as a background that weakly interacts with characters. One of the reasons for the emergence of a new aesthetic interpretation of art space in modern Russian literature and cinema was the radical changes that took place in Russia in the 1990s. The disappearance from the world map of a huge country called the USSR and the loss of familiar landmarks and stereotypes could not but affect the worldview of artists, writers and filmmakers trying to artistically comprehend what is happening. The conclusion that follows from the analysis is that many principles of the aesthetics of postmodernism were reflected in the style of the arthouse films of 21st century, with the exception of such traits inherent in the best postmodern examples as humor, irony, game element and non-linearity of narration. The coexistence of real and clearly conditional art space in such films contributes to the fact that the cinematic texture contradicts conditional situations and characters, causing the viewer to feel art inorganic. Analyzing the perception of art films by experts and the audience, the author concludes that the assessments of art critics and viewers are largely diverging for the same reason: viewers mostly perceive author films as works of a realistic style but can not find in them psychological characteristics of the heroes and the motivation of their actions, i.e. the traits inherent in realism; experts evaluate these films based on the presence of the elements of symbolism and metaphorism and metaphysical and universal image of reality.

Representation of the image of a history teacher in the post-Soviet space in modern cinema

Representation of the image of a history teacher in the post-Soviet space in modern cinema

ПУТЬ ГЕРОЯ, ИДЕНТИЧНОСТЬ И СТАДИИ ЖИЗНЕННОГО ЦИКЛА В КИНОИСКУССТВЕ

The relevance of the research is determined by the high social significance of the problems of identity formation in modern society, reflected in cinema, and the insufficient knowledge of the processes of constructing various identity models in the art space of cinema and the connection of the psychological stages of development of this identity with elements of the structure of film narration. A comparison of the structural elements of the hero’s travel map (compositional nodes of the script) with the epigenetic diagram of the stages of identity formation and a description of the formal-substantive unity of the elements of dramaturgy and Erickson’s staged model constitute the scientific novelty of the study. The purpose of the study is to show that the drama of the film, the structural elements of the compositional set of stages of the hero’s way, the transition to new states through passing tests and gaining knowledge correspond to the stages of ego-identity formation, reflecting the person’s ability to overcome problems by transforming himself in the process of interaction with social categories. To achieve this goal, a comparative-typological method is used to solve the following problems: highlight the general structural and substantial characteristics of the initiation rite as a process of formation and development of the hero’s identity and way, built on the basis of the monomith structure; describe the possibilities of reflecting the psychological processes of the formation of ego identity at each stage of the structure of the hero’s path; based on the analysis of individual films show ways to reflect the stages of building the ego-identity of the hero in the meaningful characteristics of the stages of his path as elements of film dramaturgy. The subject of analysis in this article is the relationship of the stages of the way of the hero and level them solve psychological problems with the content of normative crises build ego-identity. The structure of the cinematic in the work relate to the sequences and stages of identity formation. The hero, moving from a state of "ordinary world" to the main test encounters problems, the relevant stages of identity formation. The hero of the film stay in the everyday world at the initial stage of the journey to the main test involves going beyond the existing knowledge about yourself and meet new requirements to change yourself, which can be done with varying degrees of success. If the hero has successfully passed the first stage of identity development, at this stage it has no problems and when confronted with the limits of private autonomy, he can hear "the call to pilgrimage", and the transition to the next stage of the journey will include a manifestation of the activity of changing yourself in gaining this autonomy. But if the confidence in the world the character was not formed, the call to travel in the form in which it is presented in the film, is seen as a confirmation of the fragility of the world and causes no movement in the direction of learning and change itself, and the movement in the direction of test the strength of the environment. In this case, the stages of the traversed path will not lead the protagonist to a complete solution of the problem of ego-identity, and throughout all the stages of the way the hero will solve these specific problems, moving consistently towards a successful or not successful gaining of trust to the world or the formation of learning ability. The research is based on the material of Russian and foreign cinema 20th-21st centuries.

Terahertz absorption modulator with largely tunable bandwidth and intensity

A dual-tunable metamaterial absorption modulator is proposed based on a hybrid vanadium dioxide-graphene configuration. When vanadium dioxide is in the state of metal, the design serves as a narrowband absorber. It is composed of vanadium dioxide patch, topas spacer, and vanadium dioxide film. When vanadium dioxide is in the state of dielectric, the design serves as a broadband absorber. It includes vanadium dioxide patch, topas spacer, graphene layer, vanadium dioxide film, topas spacer, metal substrate. By adjusting Fermi level of graphene from 0.1 eV to 0.7 eV, absorptance of the proposed absorber can be dynamically tuned from 45.3% to 94.5% at 0.4 THz and from 31% to 96.3% at 1.0 THz, and absorption bandwidth gradually widens. Because of the unique dielectric to metal transition properties of vanadium dioxide, the tunable behavior of absorption frequency and intensity can be achieved through external stimuli. Thus our design can realize adjustable absorption of intensity and frequency in terahertz range. Besides, the designed narrowband and broadband absorbers are polarization-insensitive for small incident angle due to the symmetry, and absorptions of the design keep good performance within the angle range of 50°.

Antiochia As A Cinematic Space and Semir Aslanyürek as a Film Director From Antiochia

This study will look at cinematic representation of Antiochia, a city with multiple identities, with a multi-cultural, long and deep historical background in Turkish director Semir Aslanyürek’s films. The article will focus on Aslanyürek’s visual storytelling through his beloved city, his main characters and his main conflicts and themes in his films Şellale (2001), Pathto House (2006), 7 Yards (2009), Lal (2013), Chaos (2018). Semir Aslanyürek was born in Antiochia in 1956. After completing his primary and secondary education in Antiochia (Hatay), he went to Damascus and began his medical training. As an amateur sculptor, he won an education scholarship with one of his statues for art education in Moscow. After a year, he decided to study on cinema instead of art. Semir Aslanyürek studied Acting, Cinema and TV Film from 1980 to 1986 in the Russian State University of Cinematography (VGIK), Faculty of Film Management, and took master's degree. While working as a professor at Marmara University, Aslanyürek directed feature films and wrote many screenplays. This article will also base its arguments on Aslanyürek's cinematic vision as multi-cultural and as a multi-disciplinary visual artist.

Le cinéma turc à l’épreuve de l’immigration : l’espace filmique comme porte-parole de la culture

The aim of this article is to analyze the interculturality of filmic spaces in films dealing with the emigration of Turks to Europe and particularly to Germany. In this perspective, we will first study the claustrophobic aspect of the spaces preventing the development of cultural relations in first-generation films. Starting from the use of space, we will then analyze the relations that exist between the way in which the Turkish immigrant woman, under the domination of patriarchal customs, is cut off from the new culture and the way in which she becomes a “victim” of it. We will also deal with criticisms of these forms of representation. On the other hand, we will see the transformation of these spaces in the cinema of new generations of multicultural filmmakers, the use of places and non-places, their characteristics through the notions of interculturality and multiculturality.

Unidirectionally Oriented Multi-Layered Carbon Nanotubes Film for Polarizer

Nanowire-grid polarizer (WGP) that is generally used for a linearly polarized UV light that required for photo-alignment requires to have a very short pitch of about 100 nm to make, which is highly cost process due to nanopattern of metals. Therefore, we propose multi-layered CNT (Carbon nanotube) sheet that can replace the conventional WGPs. In this regard, unidirectionally oriented CNT bundles are proposed which shows a strong optical activity and anisotropic behavior with visible and ultraviolet wavelengths. In addition, a film prepared by oriented CNT bundles shows a high transparency at shorter wavelengths of 380 nm and even less. Furthermore, oriented CNT film exhibits 75-80% of DOP in the region of 350nm ~ 800 nm, especially ~91% in ultraviolet region, and provides wide absorption spectrum due to the π -plasmon of graphite. Moreover, the DOP and optical activity of aligned SWCNT can be further enhanced by improving the degree of alignment of CNT by stretching the polyvinyl alcohol substrate. We prepare a multi-layer CNT polarizer by depositing CNT layers one over another on a Silicon substrate by chemical vapor deposition technique. And then a bundle of CNTs are unidirectionally stretched to make the CNT sheet by using a mechanical rotation tool. The long axis of CNT rods in each sheet is orient parallel to the stretching direction. Then the stacked CNT sheet is transferred to a glass substrate as indicated in Fig 1. (a).The final multi-layered CNT polarizer consists of 3, 5, 8 and 12 CNT sheets stacked together with matching orientations. The relative transmittance of CNT polarizer within visible region is decreasing with increasing number of CNT layers. The incident light with its electric vector parallel (perpendicular) to the stretched CNT axis is effectively absorbed (transmitted) by the multi-layered CNT polarizers. Wavelength-dependent transmittance is showing a good correlation with optical microscopic results, as shown in Fig 1. (b). The transmittance of CNT polarizer at 365 nm is measured to be >10%, 6.5%, 1.0% and 0.5% for 3, 5, 8 and 12 CNT layers, respectively, whereas the iodine polarizer is exhibiting almost zero transmittance. Moreover, the proposed CNT polarizer is capable to extend the absorption of incident light up to deep UV region providing a wider operating wavelength range from 300 nm to400 nm and all multi-layered CNT polarizers exhibit high stability against long time UV exposure. To measure the multi-layer CNT polarizer’s performance, we have employed fringe field switching (FFS) cell with 3.4 μm with film spacers (passivation layer = 0.5 µm / gap between pixel electrodes = 4.5 µm / pixel electrode width = 3.5 µm). As shown in Fig. 1(c), obtained multi-layer CNT polarizer exhibits higher DOP of 91% by matching orientation of stacked CNTs in each layer. Inserted left image in the graph is the FFS cells exposed with 3 CNT layers. It exhibits slight nonuniformity in brightness of low grey scales called mura at 3 V, whereas the cells exposed with 12 CNT layers (right insert image of Fig. 1 (c)) do not show such mura. The proposed CNT polarizer film is expected to be applied as photomask with low-cost. we believe it has strong potentiality to utilize in future photonic and electro-optic devices with broad band gap from UV to infrared. Figure 1

Exhibitor’s Cut: Travelling Cinema and Experiences of Cinemagoing in Taurus Highland Villages during 1960-1980

Based on the New Cinema History approach, this article focuses on the cinemagoing experiences in the Taurus highland villages from 1960 to 1980 in Turkey. No previous study has investigated cinemagoing experience in rural Turkey. We explore who participated in the screenings and what the experiences of audience members were, in which places (fixed or ambulant) and under what circumstance s the film screenings took place, who the exhibitors were, and how procurement, distribution and exhibition mechanisms worked. We employed an ethnographic design and collected testimonies through oral history with villagers and also with travelling exhibitors and cinema operators. Our findings challenge a series of antiquated arguments on Turkish cinema history by reflecting upon grounded daily experiences in a often-ignored locality. These findings include issues such as cinema exhibition operated independently from the city, mobility and temporality of cinemagoing experience, performative audience, and open cinema spaces.

Representaciones del no-lugar en Lost in Translation y Somewhere de Sofía Coppola

Teorizando sobre la conceptualización cinematográfica del espacio, este trabajo pone bajo escrutinio dos largometrajes de la directora y guionista estadounidense Sofía Coppola, Lost in Translation (2003) y Somewhere (2010), para analizar las técnicas personales de la representación espacial y cómo éstas ayudan en el planteamiento ideológico y/o moral de la obra. Se relacionará el espacio fílmico con el espacio real, subrayando la diferencia entre la creación metódica del primero —la cual tiene el fin estético de paralelar o contrastar el ánima humana que lo transita— y la inabarcable existencia del segundo —que también resulta indiferente a sus ocupantes—. Tomando el concepto de «no-lugar» ideado por Marc Augé y ampliando su abanico de utilización al traerlo al campo del espacio representado de manera audiovisual, se discute cómo la acepción de este término puede concordar con la construcción del espacio fílmico llevada a cabo por la directora, ejemplificando con escenas y demás aspectos de cada filme en particular. Además, se aplican las ideas antropológicas de Manuel Delgado en la discusión sobre la posible filiación moral del espacio fílmico con la del espacio real, para finalmente adoptar el punto de vista sociológico a partir del trabajo de David Riesman en un intento por establecer la posibilidad de redención o apropiación del espacio por parte de los personajes de cada filme.

Vanadium dioxide-assisted broadband absorption and linear-to-circular polarization conversion based on a single metasurface design for the terahertz wave.

Integrating tunable characteristics and multiple functions into a single metasurface has become a new scientific and technological undertaking that needs to deal with huge challenges, especially in the terahertz frequency region. The multifunctional design combining the broadband absorption and broadband polarization conversion using a single switchable metasurface is proposed in this paper. The switchable performance can be realized by treating the insulation to metal phase transition properties of vanadium dioxide (VO2). At high temperature (74 °C), the proposed metasurface can be used as a broadband absorber which consists of a VO2 square ring, polyimide (PI) spacer, and VO2 film. Simulated results show that the terahertz wave absorption can reach above 90% with the bandwidth ratio of 75% in the frequency range of 0.74 THz-1.62THz. This absorber is insensitive to polarization resulted from the symmetry structure and also shows a good performance at large incident angles. Once the temperature is lower than the cooling phase transition temperature (about 62 °C) and VO2 is in insulation state, the metasurface can be transformed into a broadband linear-to-circular polarization converter. Numerical simulation depicts that the ellipticity reaches to -1 and the axis ratio is lower than 3 dB from 1.47 THz to 2.27 THz. The designed switchable metasurface provides the potential to be used in the fields of advanced research and intelligent applications in the terahertz frequency region.

Electronica, gender and French cinematic girlhood in Céline Sciamma’s films

ABSTRACT This article examines the music in Céline Sciamma’s films with an emphasis on Naissance des pieuvres (2007), arguing that, in a film where the girl characters so rarely express themselves through dialogue, the music offers a means of communication that does not rely on the verbal. It is through music that this film invites the spectator into the girls’ cinematic world, and this music provides an insight into the sensations and emotions that the girls experience. The article argues that the use of the electronic genre increases this potential for expression. Because electronic music is bound up in French musical culture, and because it offers specific opportunities for female expression, the genre is particularly significant in a French girlhood film. This article examines how the electronic genre aids in the creation of a specifically ‘girl’ space in Céline Sciamma’s films offering the girls a space in which they can express themselves freely without pre-existing signification or stereotypes. Via both the musical sounds themselves and the signification attached to the electronic genre, the film’s music provides an audible expression of the characters’ experiences, inviting us into the girls’ cinematic space and allowing us a point of entry into their world.