Abstract
As historians such as Albrecht (2000), Weihsmann (1988, 1995), Neumann (1996) and others have repeatedly claimed, the number of prominent architects, particularly in Germany and France, who have engaged with film productions from the 1920s onwards suggests a longstanding ‘applied’ reciprocity between the disciplines of architecture and film. Examples include the German architect, Hans Poelzig, who built the set for Carl Boese’s and Paul Wegener’s expressionist film classic, Der Golem, wie er in die Welt kam (1920). Robert Mallet-Stevens, one of the pioneers of French architectural modernism, claimed that although film has a distinct influence on modern architecture, it also shares filmic properties since both essentially consist of ‘images in movement’ (Mallet-Stevens, 1925: 96).
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© 2010 Richard Koeck
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Koeck, R. (2010). Cine-Montage: The Spatial Editing of Cities. In: Koeck, R., Roberts, L. (eds) The City and the Moving Image. Palgrave Macmillan, London. https://doi.org/10.1057/9780230299238_14
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DOI: https://doi.org/10.1057/9780230299238_14
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