Chek Lap Kok (Hong Kong Airport) 21.00 01.12.19
Connolly, Stephen (2020) Chek Lap Kok (Hong Kong Airport) 21.00 01.12.19. Screenworks, 11 (1). ISSN 2514-3123
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The ‘Spatial Cinema’ is a filmmaking practice that researches articulations of spatial narrative in cinema.[1] Developed over the last decade, this practice has migrated to a practice-as-research paradigm, exploring the intersections between the spatial thought of Henri Lefebvre – the social construction of space – and the possibilities offered by cinema for the articulation of spatial relationships (Lefebvre 1991). The ‘spatial’ is framed as a social and material resource rather than a landscape or an aesthetic treatment of space. As a resource, space is contested and a subject of social conflict (Deutsche 1996). This spatial antagonism has become an issue in novel conditions in 2020; this is fertile ground exploration in the moving image. A spatial emphasis does not displace the temporality so important to moving image – time is a fundamental property in the animation of space and cityscapes in film (Bruno 2007). The conjunction of moving image and spatial theory is distinctive in a spatial cinema practice.
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