PRINT October 2018

Fallen Angels

IN MOST MOVIES, architecture is simply where things happen: a container for action, a background against which drama unfolds. You can see why cinema has seldom made it an explicit subject: The act of photographing space reduces three dimensions to two, and it seems a doubly perverse exercise to confront the mute, static presence of a building with a movie camera. Discussions of architecture in relation to cinema usually concern films by, say, Michelangelo Antonioni or Jacques Tati, in which the built environment is prominent. But over the past two decades, the German filmmaker Heinz Emigholz, in proposing radical departures from the typical representation of built space, has become the leading exponent of the microgenre that is the architecture film.

In this group of Emigholz’s films, each building is typically introduced with a title card that identifies its name, its

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