Film, as one of the best understandable representatives of visual culture to the public, formulates its “existing” area for society. It creates a materialized sense of frustration, enjoyment, future, past and present. It acts as a portal to desired illusion with frequently reaching full-fledged sense of confrontation with the named world.

Despite the repetitive themes with a predicative value, without required and desired education of the authors, the film has its popularity and thematic fans.

The world of illusion, which goes together well with the sense of economic consumption with the underlying cultural and mental development, has become a legitimate and parallel world of the real world. The question is what and where the real world is if the world creates or predetermines the film illusions as a visionary the form of development of society and its culture. It pre-defines the future and reminds and re-formulates the forgotten past. This latent co-existence of these parallel worlds is very popular with viewers due to its serviceability.

Film frequently limits our horizons like blinders limit the horse’s view and deprives us of seeing the world as it really is. The favorite hyperbole of the communist dictator V. I. Lenin that “Film is the most important culture” proves this latent meaning and contingent power and ability to manipulate.

Film architecture – as reality

Anticipated wider reflections on film architecture should be taken into consideration and likewise in common architecture, a large number of low-quality works are made also in the film architecture which may then awkwardly distort the contingent importance of the topic and disallow feasible juxtaposition among individual branches of architecture or deprecate asking questions like:

• Why is interesting to talk about film architecture?
• What does film architecture cause?
• Who is a visionary and who recycles?

I suppose that these kinds of questions are a sufficient stimulus for contemplation about what really takes place round the film architecture. Let us realize that film has become an influential medium which works fairly well with the consciousness of society. That is why it is necessary to take film visualization in this context seriously. The impact of wrong or good film scenes in an extreme case may influence the society to such an extent that it will not be willing to accept what the actual reality shows. The daintiness of the film world and its heroes has become something in which is believed and what is  “the truth”.

We know that unless people without ability of visual formulation – materialization of e.g. own existence area, are given this information or it is appropriately interpreted, they cannot describe it graphically.

Our towns are full of monuments and newly developed contemporary buildings that are known and recognized by all people, but without the existence of e.g. picture postcards that visually formulate the towns, they are not able to comprehend them. Film architecture like a picture postcard may influence the interpretation of the “genuine” appearance.

That is why it cannot be said that due to the greatness and significance of general architecture, the film formulation is less important and can be marginalized as something subsidiary.

The film architectural visual comes out of general history of architecture and its visions are based on the already existing foundations. Then it formulates the image of the period from which it was acquired. The question is what originates during this formulation – recycling. Due to accentuation of a story, the film formulation may lighten the harshness of the history and vice versa. All that with preservation of “trustworthy authenticity “.

Film architecture creates a new clear representation priding on its plausibility

Meditation: Can film architecture be dangerous by its bias for societal education…?

A new idea of the past and logically a fictitious definition of the future come into existence. For example, the film imagination presented a space observatory at the time when none existed yet. Machines, cities, individual things were described with certainty before possible verification of functionality could take place at all. Contingent relieving the film architecture of its general importance would not be right in the context of the popular film phenomenon.

The position in which film makers are found is certainly different to the one of architects of stone towns. Nevertheless, it is not possible to prefer and raise unequivocally the significance of general building architecture and its responsibility towards society … In light of film architecture, it is exertion of influence on the same society.

What is the purpose of rules of standards (Neumaier, Le Corbusier) which should be followed… when even the lavatory does not have to be classical, the house angular, and the door may be 3 times higher or narrower than represented by a dogmatic building standard. As an example, the architecture exhibition named the “Latent Utopia” under the curatorship of a world-renowned architect Zaha Hadid who essentially substantiates this state. The exhibition is rather a scenography of futuristic films and naive conceptions…

Visual broadmindedness in building architecture sometimes, due to its lack of connection with a story, remains rather an aesthetic element which can rather be perceived as efforts to create a legitimate artefact. A question is raised whether the author of a civil engineering “artefact” has enough knowledge and information to be able to adequately substantiate the originality and power of the conception without an overbalancing emphasis on aesthetics.

Does the organic architecture not confirm the recycling of film futurism? Despite its relative freedom in comparison with the building architecture, the film architecture must necessarily respect the story. It is not possible to talk about the film architecture only as the scenography or supplementary surrounding scenes.

In the existing amount of variously blending recycled items of information, it is not possible to ask for authenticity and authorship originality. The sole phenomenon of film scene-fiction enjoys high popularity. Any form of pre-formulated world is more pleasant for people than the confrontation with reality.