Film Space as Free Space: Making a Horror B-Movie Fragment

Workshop Tutors : Saitali Köknar, Sinem Serap Duran

The opportunities created by cinematic thought expand our field of contemplating architecture. The film-space, which is shaped by the articulation of non-constructible or impossible relationships but is a whole as an experience, can be considered a free space in which we can rethink the possibilities of architecture. Cinematic tools that reproduce human perception through constructs are open to interpretation as architectural design tools used in the design of spatial experience.

Horror cinema, in terms of its dramatic associations with the space, carries the emphasis on experience a step further. It takes a familiar or cognisable space that we know only in one form, and highlights one innate yet uncanny aspect of that space, manipulates the perception of space and makes us question it; and ultimately enriches the person’s relationship with the space. The frequently encountered clichés of horror films, especially when we look at the chase scenes, present forms that establish the film-space where the principles of continuity and discontinuity are highlighted with ellipses, and spaces without physical connections are woven merely in line with the needs of the narrative. The chase scenes invent forms that in principle resemble the architectural form, where the architectural elements are no longer a backdrop but have become an actor. The reading and interpretation of these connections between spatial experience and cinematic clichés is considered important in relation to the pedagogic structure of cinema that dismantles human perception. Ultimately, working with clichés is instructive. With its narrow streets opening up to the squares, the contradictory concurrence of its continuous traditional life and the transient existence of tourists, and its strategies of continuing to survive on water, Venice has been offering an environment that contains the full-empty, love-hate, death-life dialectic strikingly and thus can by itself be the stage of primal emotions inherent in horror films. By using this possibility the workshop will, albeit briefly, enable the architecture student participating in Vardiya to engage with Venice in a different manner.