DESIGN AND CINEMA - FORM FOLLOWS FILM

Why has cinema become so closely acquainted with the design disciplines, and vice versa? What valuable or significant experience can come out from this brotherhood, both in terms of substantial and in terms of representative means? What seems to be more promising in terms of theory making both in design and in cinema is the substantial dimension of their relationship, since it points to an essential change in our conception of existence and space: The timelessness of optic space replaced by thetime-bounded experientiality of haptic space. This also brings about different theoretical elements for analysis by leaving the subject and the object aside and looking into what their relations have produced, the outcome being patterns of experiencewhich exist somewhere between the lived and the made, i.e. being abstract and concrete at the same time. And, finally, this is where cinema becomes a poetic medium and an important tool for representing the so-called patterns. Design and Cinema: Form Follows Film is interested in seeing those patterns in terms of formal categories, thought to be representation of certain experiences. The book is organized in two parts, Discourse on Form and Film and Works on Form and Film. The first part of thebook discourse is intended to give a picture of current thought on the formal categories, introduced here as, existential, narrative, structural, constructive, temporal, digital, social, and fragmental. The second part of the book presents works, conducted either in the form of workshops or films, as expressive media of the formal categories discussed in the first part.