Arquitecturas de la ciudad cinematógrafo : Buenos Aires, 1894-1920
This thesis studies those places that, in the city of Buenos Aires, exhibited films between 1894 and 1920. In the first place, the spaces of and for the cinema are identified, that is, those sites where films were shown are recognized, regardless of how permanent or provisional their materiality was...
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| Formato: | info:eu-repo/semantics/doctoralThesis |
| Lenguaje: | español |
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Universidad de Buenos Aires. Facultad de Arquitectura, Diseño y Urbanismo
2021
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| Acceso en línea: | http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=aaqtesis&cl=CL1&d=HWA_5079 https://repositoriouba.sisbi.uba.ar/gsdl/collect/aaqtesis/index/assoc/HWA_5079.dir/5079.PDF |
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| Sumario: | This thesis studies those places that, in the city of Buenos Aires, exhibited films between 1894 and 1920. In the first place, the spaces of and for the cinema are identified, that is, those sites where films were shown are recognized, regardless of how permanent or provisional their materiality was. Secondly, the cinema phenomenon is thought as a novelty and, therefore, as a social construction depending on structuring and institutional control processes. It is assumed that movie theatres are an urban phenomenon, that they are both a product and city producers. In this sense, the thesis proposes a shift from historiographic canons, and exposes these sites as other spaces, as juxtapositions of physical and symbolic sites. In addition, the research relates architecture and cinema, although not in the most common way, in which we observe how architecture is seen by cinema, but from an inverse perspective, in which what is looked at is how cinema projects architecture. \nThe interaction between the cinema phenomenon and the architecture of movie theatres dates from 1894, with the arrival of Edison's kinetoscopes in the city. Since then, the illuminated views found place in open or closed spaces, used as movie theatres or built for this function, while cultural, economic, social, spatial, technical and artistic factors that gave rise to the phenomenon of cinema were consolidated. In the threshold of the 1920s, cinema reached its highest level of social institutionalization and movie theatres its greatest degree of architectural determination. In this way, the places intended for film exhibition are considered privileged objects for the study of architectures in formation. |
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