But there were additional similarities between our anthropological and cinematic projects. Simon Sadler, The Situationist City (Cambridge, MA: The MIT Press, 1999); Merlin Coverly, Psychogeography (Harpenden, UK: Oldcastle Books, 2020). Jin: “Yes, yes! She struggles to put her thoughts into words and gestures in the air, cigarette in hand, tracing the four sides of the rectangular glowing box. His video essays often highlight a particular aesthetic used by film directors. As these dogmatic modernists averred, spatial transparency had the ability to deconstruct entrenched hierarchies (e.g., that pesky binary of public vs. private). Casey is also a part-time librarian, so a fair amount of screen time features I.M. Walking around on foot I was duly impressed and bewildered by the concentration of rectilinear, modern, avant garde, and glass-façade buildings I had spied in a matter of mere blocks. Kogonada’s move in the introductory voice over of ‘fictionalizing’ this historical event – claiming it initially as an imagined ‘experiment’ involving a time machine – establishes a kind of Borgesian atmosphere that persists even after the claim of experiment is retracted. Steven Harris and Deborah Berke (New York: Princeton Architectural Press, 1997), 222-224. Kogonada, Director: Columbus. Viewers hear, near verbatim, the very language that the tour guides—the city’s official urban mythologists, story keepers, and applied historians—who lead design pilgrims and architecture buffs around the city, offering commentary on buildings designed by Saarinens, Peis, Venturis, Meiers, or Fletchers. Kogonada took his neorealist convictions seriously, hiring residents to play library and restaurant staff, local workers, and other support roles. Neorealism is slow and processual in method. Kogonada’s narration does not strive for neutrality or ‘aural invisibility’. (Video 2013) 7 /10. Using clips from the American television series Breaking Bad, the video displays the series' use of numerous point of view shots from unusual angles and objects. In a public, professional, polished sense, Columbus is a clear exception to the Midwestern mundane. Profiles uniformly focus on him being a Korean-born American based in Nashville, who dropped out of a PhD program where he was writing a dissertation on Ozu. Kogonada grew up in the Midwest and often passed by Columbus via interstate but only as an adult learned about its distinctiveness through a New York Times feature. Mirrors of Bergman. The center contention of this article is that neorealism is The exterior of Casey’s modest vernacular home. We don’t hear why she loves the building, but we do observe the joy and pleasure that it brings her. El ensayo se hace a través de las diferencias de corte entre Vittorio de … Kogonada. Take glass as symbolic material for built modernism. Kogonada is concerned, in Berke’s own terms, with non-monumental built worlds. Figure 5. The only great problem of cinema seems to be more and more, with each film, when and why to start a shot and when and why to end it.Jean-Luc Godard. As in Thom Anderson’s Los Angeles Plays Itself (2010), this city’s buildings “play themselves” and command the screen, as one critic puts it, “more like actors than scenery.”[13] That these buildings are “actors” possessing a degree of agency over and influence on their human inhabitants comes through in Kogonada’s film. Jin: “Do you like this building intellectually, because of all the facts?”. In my essay, “La Caméra-stylo: Notes on video criticism and cinephilia,” I distinguished (very broadly) between two modes in recent videographic work: the explanatory and the poetical. The effect of the uncanny – of qualities of doubling and repetition – is dizzying. The video thus works on two separate but interrelated tracks: the facts it gives us in the explanatory mode, and the atmosphere it creates as it poeticizes that information. The unification of the two frames appears to us as the ‘answer’ to what we were so intently looking for only a moment earlier, before disorientation settled itself – and not always into clarity, sometimes into hallucination. Back home after the trip I researched online only to confirm my initial speculations of exceptionality. Jin seems oblivious to the family drama that has just played out in front of him through the wall of The Republic. Very few of these principals are women. The film challenges mainstream filmmaking techniques and is in close conversation with urban design and architectural theory. What Is Neorealism? Harris and Berke, Architecture of the Everyday. History does have a rare answer to show us. To see the city as an anthropologist sees it, watch Columbus. Columbus is a neorealist exercise in the deconstruction of problematic cultural mythologies of various sorts. The duo stands near Casey’s car after dark, the floating, rectangular box of the bank hovering above them. Manifestations of Alternative Columbus, as I’m describing them, include locals who interrupt official tours to describe Henry Moore’s Large Arch, stationed in the middle of the city plaza, as “Godzilla’s leg-bone.”[27] Likewise, Harry Weese’s Eastbrook Plaza Branch Bank has earned the unfortunate yet endearing moniker of the “Dead Horse.”, Kogonada, to repeat, has not written a visual love letter to Columbus, at least not in an idealized, blindly optimistic manner. Godard in Fragments. Kogonada enters this discussion about the symbolism of glass and the affective power of built structures. [26], Additionally, sometimes local inhabitants themselves, both natives and newcomers, interpret the city’s midcentury modern seriousness in playful and heterodox ways. The low, hurried tone of his delivery evokes a quality of contained urgency, as if he’s sharing with us some secret, previously undiscovered, uncanny correspondence between two different films. Auteur in Space. “He was writing something on the Saarinen churches,” Jin relays to Casey. Kogonada will be in attendance for the Saturday, Aug. 26, 7pm screening, as well as take part in “Kogonada: The Art of the Video Essay,” a … Figure 8. Alternative Columbus includes local life outside of the polished downtown sector. In the middle of all the mess, in this fucking strip mall, there was this . In her stellar (and very much ongoing) architectural career, Berke has pioneered the rise of what one might call everyday modernism as a design style, philosophy, and idiom. Kogonada’s implicit meta-commentary emerges in this scene in full force, signaling back to the mediated discussion that occurred at Saarinen’s bank. [1] Kogonada’s neorealism, like that of his Italian predecessors, challenges the boundaries of mainstream filmmaking and defies the predictability of Hollywood cinema. [22] Berke’s First Financial Bank, originally an Irwin Union Bank branch, features prominently in the film and has earned the rank of number four in Casey’s personal list of favorite local buildings. But in real life there are alternative voices that do not always speak positively of Columbus’s architectural progressivism. See Merrill Schleier, “A Place of No Return: Frank Lloyd Wright’s Undomestic Ennis House in Film,” in Archi.Pop: Mediating Architecture in Popular Culture, ed. They pause by Haw Creek, which flows under James Polshek’s Mental Health Building. By my reading, Columbus belongs in the genre of visual anthropology, alongside Margaret Mead and Gregory Bateson’s Bathing Babies in Three Cultures (1941), John Marshall’s The Hunters (1958), Jean Rouche’s Chronique d’un été (1961), Robert Gardner’s Dead Birds (1964), and, most recently, Lucien Castaing-Taylor and Véréna Paravel’s immersive sensory ethnography, Leviathan (2012). In presenting the results of his non-experiment, Kogonada uses two screens, side-by-side, to present the slight variations between the two films. When the speeding, scanning images of bodies and buses and cars comes suddenly to settle on a doubled image of Jennifer Jones walking slowly up an apartment stairway, the effect is one of the woman floating, ghost-like, toward a fated rendezvous. Directly following Jin’s line about buildings emotively moving human interactants, Kogonada shifts the camera into an unexpected third position: behind the glass and into the interior of Saarinen’s bank, focusing on Casey’s body language and expressions as she breaks out of tour guide mode, out of her role as “arbiter or tidbit facts,” as Jin puts it. This 2013 video by the acclaimed video essayist kogonada, originally published in Sight & Sound magazine, is deceptively straightforward. World War II Global Trauma Italian Neorealism Post-WW II Film movement After World War Casey facing Eliel Saarinen’s First Christian Church and Henry Moore’s Large Arch. Columbus blends the real with the imagined; the film is both documentary and fiction. Henri Lefebvre, The Urban Revolution (Minneapolis and London: University of Minnesota Press, 2003); Michel de Certeau, The Practice of Everyday Life (Berkeley: University of California Press, 1988); Steven Harris and Deborah Berke, eds., Architecture of the Everyday (New York: Princeton Architectural Press, 1997); Sadler, The Situationist City; Coverly, Psychogeography. As urban formations, cities are besought with internecine boundary issues, both internal and external, as well as with ongoing contestations over identity, values, and ethos. Glass displays and hides and symbolizes. Films include Columbus, What is Neorealism, and Kubrick // One-Point Perspective Alongside neoliberalism, neorealism is one of the two most influential contemporary approaches to international relations; the two perspectives have … But Kogonada perhaps focuses on this point because it is what he takes as his model: the neorealist strategy of poeticizing what appears simply to be ‘fact’ or ‘truth’. Kogonada’s movie is not a perfect film, but what it does well is to pick up on the internal ruptures that cities, as diverse urban and social composites, wrestle with by matter of definition. As iconic as Mies’s Farnsworth House and Philip Johnson’s Glass House, the home’s rigid structural modernism finds relief in the warmth of interior designer Alexander Girard’s bold use of colors, textures, and materials. The New Yorker: “The Nashville-based film artist :: kogonada makes short films for Criterion that are so quiet and rapturous that you feel a jolt when they’re done: they are over before you want them to be over. Like Kogonada, who eventually visited the city in person, I knew I had stumbled upon something exceptional. Through its neorealist, ethnographic gaze, the film critically attends to entrenched hierarchies and divisions regarding gender, race, built artifacts, and socioeconomics. Búsqueda de "Kogonada". 11 (2018): 1-83. This situation makes sense given Kogonada’s intentional focus on margins and marginalia. View 13-Italian Neorealism.pdf from RTE 321D at Dalhousie University. Figure 16. The center contention of this article is that neorealism is a filmic genre, philosophy, and style that Kogonada applies to his own work. But can a quasi-fictional feature film delve into heady architectural theory using the two-dimensional medium of the movies? But unless the viewer reads lips, her actual, semantic language escapes us. Director Biography. Columbus is duly fact and fiction, art house cinema and ethnography, feminist manifesto and metropolitics polemic. Aline Dolinh, “The Subconscious Reflections of ‘Columbus,’” Film School Rejects (March 2018). Deborah Berke, “Thoughts on the Everyday,” in Architecture of the Everyday, eds. Twitter. Every cut is a form of judgment, whether it takes place on the set or in the editing room. The building is second on Casey’s list of favorites. Kogonada’s title here, which baldly states that his video will specify the key feature of neorealism, is something of an error. Likewise, writers, scholars, and commentators on Columbus are just starting to pay attention to the role that Xenia Miller played in the city, rather than focusing exclusively on her influential husband and patron of modern architecture, J. Irwin Miller. De Sica’s extra twenty-five minutes contain the essence of neorealism. In a video essay for Sight and Sound, kogonada (2013) makes the point that neorealism do not use captions to tell the audience where and when the film is taking place. Kogonada ponders what the differences between them reveal about the essence of neorealism. ', Sight & Sound magazine, May 2013. “An architecture of the everyday may be banal or common,” “vulgar or visceral,” Berke writes. Directly correlating with the neorealist attention to the margins, there is still another, implicit star of the movie, a real-life figure who, quite cleverly, does not show up directly in the film even once. Viewers observe Casey and Gabriel conversing. Columbus’s buildings take on the attributes of the human. Consider the interchange between Casey and Jin that occurs next to Eero Saarinen’s Irwin Union Bank, one of the first modernist, glass-walled banks in American history. Jin discusses, momentarily, his father’s latest research. Casey explains her passion for architecture to Jin, noting at one point how she had attended Berke’s lectures during special events in Columbus, had gotten to meet the architect, and had even communicated with her about a possible internship in New Haven. A lingering view near Casey’s place of residence. It was first outlined by Kenneth Waltz in his 1979 book Theory of International Politics. Shortly after the bank scene Casey and Jin visit other sites in the city. Travis Warren Cooper holds a dual doctoral degree in anthropology and religious studies from Indiana University—Bloomington. Kogonada’s first full-length feature film, Columbus (2017) is about a little-known Midwestern city and bastion of modern architecture. Her domestic architectural endeavors have been especially fruitful sites for exploring design principles of this quotidian, lived sort.

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