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City, Screen and Hyper-reality: Television as a “Habitat” and Identity Platform By: SOL, Luísa
Faculdade de Arquitectura da Universidade Técnica de Lisboa;
Centro de Investigação em Arquitectura, Urbanismo e Design, C.I.A.U.D. -- Portugal
Projecto de Investigação em: ARQUITECTURAS IMAGINADAS: REPRESENTAÇÃO GRÁFICA ARQUITECTÓNICA E “OUTRAS IMAGENS”
This abstract aims to focus on the 8th research subject - Social Spaces and Social Interaction
- of the “ Architecture, Education and Society” International Workshop, Barcelona 2012.
This paper will analyse how people experience the City’s through the images that come on
the Television. Not only are these types of images mediators between the city, its
architecture and its lifestyle, but they are also responsible for making them more appealing
and in consonance with the lifestyle that viewers aspire to (Ventury, Scott-Brown, Jenks). This
derives from the intention of personalizing the viwer’s habitat. That is, the tendency to turn
the images enhanced by television into an inhabitable space.
The same city, the same area or even the same street can be captured, transformed and
filtered by the camera, allowing themselves to be presented in multiple ways to several
different Identities (Lacan, Freud).
Post-Modernism (Harvey, Jameson) has extinguished the possibility of representing the
world as a whole by replacing it by several realities that manifest the logic of individuality.
The television image establishes a seduction dynamic representing the “Illusion of the
Unlived” (Debord), while allowing us to be in places that we had never experienced, although
easily recognizable as familiar places. In the Hyper-reality (Eco, Lipovetsky) era, the city is
disseminated through a large number of such images with an illusive sense of accuracy that we
will inhabit without ever having been there before. The images that portray this type of city –
in films, music videos, advertisement, internet, magazines, postcards, guides, catalogues,
among others - became an inevitable visual heritage that will make us live (and choose) to live
in an illusionary kind of city. The audience to whom the image of the city is targeted to, will
inaugurate a new, specific, and (re)invented kind of city (its image, I mean).
Bearing this in mind, it should be noted that the LA boulevards (re)presented in Sunset
Boulevard (Billy Wilder, 1950), in Zabriesky Point (Michelangelo Antonioni, 1970), in Annie Hall
(Woody Allen, 1977), in the music video Heaven (Eurythmics, 1987) or in Aphex Twins’
Windowlicker (1998) are (not) always the same city.
The relationship between city and its spectator (and citizen, as well) through the screen, helps
us to understand several contemporary phenomena, including the globalization, especially
concerned with the city and (its) architecture.
Hence, this paper wishes to analyse the screen as a perfect habitat with a better, illusory,
and more perfect lifestyle, though, better and more perfect than the “real” one.
Sunset Boulevard (Billy Wilder, 1950) Heaven (Eurythmics, 1987)
Zabriesky Point (Michelangelo Antonioni, 1970) Annie Hall (Woody Allen, 1977)
Windowlicker (Aphex Twin,1998)
Lisbon, January 19th 2012
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