The thesis proposes the possibility of transferring the specific guidelines of architectural analysis to cinema, investigating how the architect can throw a particular look to the film world and its achievements using the analysis models and representation tools inherent to their own training and professional activity. But at the same time, the thesis studies how an analytical approach to the world of cinema, working with the objectivity that allows the approach from a professional and academic platform to an external activity, allows the architect to understand and delve into some aspects concerning their profession. This is therefore a crossroads, where the architecture and cinema can feed their particular fields, identifying strategies and shared outcomes.
The thesis speaks, therefore, about the architect and the filmmaker, about their professions, their way of looking and working, and not so much of architecture and cinema. It is the specific look of the architect that operatively interposes on the filmmaker’s work the pattern of a proper analysis, obtaining conclusions from the transposition of those specific study strategies to another field.
An investigation that, furthermore, has expanded the boundaries of his field of work, studying the reflections made by different authors and their critics out of cinema and architecture about their creative activities, and analysing how great creators of many different fields try and have tried to reveal, through their words, works and writings, a possible method for the creation of their works. This has revealed the existence of a rich set of coincidences, a kind of unique look, very useful for understanding internal aspects of a particular and own creative development that otherwise, conditioned by some professional specificity, may be difficult to unravel.
The thesis proposes, as a working tool, the visual and graphical analysis of twelve French films made in the vicinity of the sixties, well as the study the available original working documents about them at the Cinémathèque Française in Paris. The developed material constitutes the vehicle to prove the existence between the two professions of a unique look, based on the projective condition that both activities share.
Through this back and forth process both professions recognize their similarities and differences, being able to evaluate how far, since the recent birth of cinema, both have established a coexistence not always explicit but anyway fruitful.