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As far as I know there was very little change to it in what was printed.
QUESTIONS OF RELEVANCE:
Is that all there is? What else could there be?
Films, Films of Peter Greenaway, and Architecture
as this was the title of the text it was for the talk I gave to the Architecture
Society at Tusculum, Sydney, on the evening of 1992 October 15.
30.4.96
Questions of Relevance: Is that all there is? What else could there be? 2
"The questions in all my films irritate some people enormously, which I find
is science that has been asking why can't art begin to ask again?"
1 INTRODUCTION
Collectively, not being able readily to provide convincing justifications for your actions
is, unfortunately, a substantive basis for suspecting they might be meaningless.
Architects are unable to say what is the value of their work in their own terms, the
meaning of architecture for architects, in a way that will convince. They do not have a
reliable basis for defending the choices of form that they make. They cannot say
satisfactorily how the meaning of a work relates to its form which is to say that
architectural designers do not have a moral basis for their actions. And, to have a
moral basis for your actions is a deeply important sense in which we could describe
them as 'meaningful'. This has been the case, especially, since the 'refutation' of
functionalism for, despite evident faults
" functionalism, no matter what its pretense, continued the idealist ambition
That is, to say not only what is the meaning in architecture but to say what is the
meaning of architecture in everyday life is important which entails, for example,
answers to the questions: what is it for, why is it valued, and what is expected of it in
everyday life?
There are many ways in which to seek answers to such questions. One of them, for
me, here, is in considering what can be learned about architecture through considering
films (and film-makers).1 Fredric Jameson (1991: 125) suggests that we can think of
'architecture as a way of thinking and philosophizing, of trying to solve philosophical or
cognitive problems', as a tool for thinking with in its own particular ways. In his work,
and in the things he says about it, Peter Greenaway suggests this is true of film.
Greenaway is intrinsically interesting to me for a number of reasons: for his
gameplaying, for his interest in heterarchic polysemy, for his interest in architecture2
and other features of the history of European culture, and because some central
themes in his work are central to perrenial concerns in debates concerning architectural
design.
"You can hide paintings, you can avoid literature, you can if you're ingenious
avoid listening to music, but you cannot avoid architecture. Architecture is the
least perishable of the arts and the most public. Architects (perhaps like film-
1 I am not the first to do this in writing on architecture in Australia, nor will I be the last.
For instance, Tom Heath wrote reviews of Modesty Blaise, Barbarella, and Alphaville in
Architecture in Australia in the late 1960s.
2 " architecture arguably the most significant, and certainly the most enduring, of all
the arts." (Greenaway 1987)
I have seen the seven feature films and two television programs. These works may be divided
according to the following scheme:
Greenaway's new film, Fifty-five Men on Horseback, is expected to be released at next year's
Cannes Film Festival.
There are a number of what might be regarded as obvious similarities between films
and architecture. Three similarities immediately suggest themselves.
Greenaway's comment points out that both films and works of architecture require
collective, collaborative effort for a work's realisation. As with works of architecture,
(art) films are subject to the exigencies both of budgetry control and of artistic
genesis.
Secondly, in principle, both films and works of architecture are publically available for
scrutiny. They can be but are not usually private media. But, they are not exactly
alike as media. As a cultural mode, architecture is unavoidable but, with film, it is a
matter of choice whether we subject ourselves to it (despite the ubiquity of the
televsion).
Thirdly, both films and works of architecture are usually approached through an
intervening cloud of rhetorical framing. That is, any possibility of seeing a film or a
work of architecture untainted, 'of itself', is unavailable.
Rooms and buildings, the physical detritus of events and of collections of
events, are not appreciated directly for what they were intended to be, or for what
they have actually had to be, but are appreciated for what they are understood to be,
how they are comprehended. That is, if we wish to speak about the meaning of a room
or of a building we will rarely be concerned with 'truth'. We will be concerned with
more or less useful characterisations (or, with more or less tenaciously held ones)
and these provide rhetorical framings of the architecture, geared to particular ways of
understanding and appreciating the world or to particular ways of participating in
3 Form the rear cover blurb of the published script for The Belly of an Architect
(Greenaway 1988). This embellishes Greenaway's original remarks a little:
"It is a truism of this century that it's easily possible to avoid looking at painting
or even reading literature, but it is extremely difficult to avoid dealing in some
way with architecture. I like to think, if I may be so arrogant, that it's possible
to compare the work of a film-maker with that of an architect. We both have to
be accountable to our backers and to the man in the street, but we also have to
satisfy ourselves and our idea of culture."
(Greenaway, cited in Ranvaud 1987: 193)
everyday life.4 Even when they do pay attention to architecture, and are not 'simply'
participants in everyday life, people must approach it through rhetorical frames they
are tourists, this is the house where Granny lived, they might be thinking of buying the
building, or they are architecture students, perhaps.
This will be true for films, also. It is an uncommon thing to approach a work of
architecture or a film for the first time unprepared by someone else's comments, a
review, or extensive promotional material.
" a lot of the ideas I dabble with concern a metaphorical use of cinema."
To illustrate what I mean, I can think of five examples of rhetorical framings in film
criticism that are based on 'rectangular' metaphors of the screen.5 Some of them are
relevant to architecture.
3.1 Window
In classical film theory, for Andr Bazin and other realists, the screen was a "window"
on the world, implying abundant space and innumerable objects just outside its border.
This metaphor leads to questions concerning the relation of cinema to reality, of
mimesis, of mimetic fidelity. (Andrew 1984: 134) Part of the metaphor's force is to
focus attention on the world that is represented, a fine thing for documentaries or for
social realist propoganda, perhaps.
The window displays meaning and effects. To think of the screen as a screen, as a
filter or mouchrabiyeh, for example, might be to adopt a version of this window
metaphor leaning slightly towards being a version of the next metaphor. It would be to
5 "I would have to say here that a metaphor only points to a potentially fruitful
rapport with the semantic field, a rapport which it is up to the spectator to work
out."
(Andrew 1984: 169)
admit that the system intervening between the world and the viewer is not without
influence on what can be seen or understood through it.
3.2 Frame
A historically older view, in classical film theory, for Sergei Eisenstein, Rudolf Arnheim
and other formalists, is that the screen is a frame whose boundaries shape the images
appearing on it, where the frame defines a field within which meaning and effects are
constructed. This metaphor leads to questions concerning the relation of cinema to
art. (Andrew 1984: 134) The cinema screen, considered as a frame, is "the place where
something special or extraordinary is taking place" (Carter 1990: 74). Under this
metaphor, it is the film-maker and the intention in the work that are the focus of
scrutiny.
This is the most obvious and persistent governing metaphor appealed to in discussion
of Greenaway's work. He would prefer to speak of a game (or game-board, pitch or
field) rather than a frame, perhaps, and, in this form, the metaphor can be taken to be
a structuralist one. This is most obviously true of what might be called the category
game films: The Falls, Zed & Two Noughts, Drowning by Numbers, and Death in the
Seine. For, as he says, himself
"It's true, these films are highly reflexive, they're artificial, very self-conscious
Further, for example, of The Cook The Thief His Wife & Her Lover, Greenaway says
(almost incidently explicitly denying the window metaphor):
"This is still very recognizably a Greenaway film: the same sort of exterior
characteristics which make you feel as if you're always watching a film and not
doing anything else. It's not a slice of life, not a window on the world; it is
certainly an artifact."
()
"There is in my film a concern for picture making, for the formality and the
artificiality of it, which energizes what is happening on the screen. This may be
a little unusual in terms of the world cinema, but gives it an extra sort of
constantly framed and re-framed. This framing and re-framing becomes like the
text itself a motif reminding the viewer that it is an illusion constantly fitted
3.3 Mirror
In Prospero's Books, Greenaway plays with the metaphor of the screen as mirror, the
metaphor that in criticism superseded and subsumed both the metaphor of the window
and that of the frame. The adoption of this metaphor leads to questioning of cinema's
rapport with the spectator, the unconscious, and desire and to questioning the roles
of spectator as voyeur, or of film-maker and actors as exhibitionists. (Metz 1981,
Andrew 1984: 134 cf Berger et al 1972, Altman 1977, Carter 1990: 152-158)
This is the least obvious metaphor to be used in discussion of Greenaway's work, since
it depends on provision of psychological insight and, whilst characters in his films
remained figures in a landscape, rather than psychological beings also, it was not going
to change. After Brian Dennehy's performance as the postmodernist architect,
Stourley Kracklite, in The Belly of an Architect, it is an increasing feature of
Greenaway's work, in The Cook The Thief His Wife & Her Lover, and, particularly, in
Prospero's Books.
3.4 Package
Marxist (possession), capitalist (Andrew 1984: 22-24, Carter 1990: 95-123, and cf Baxandall
1985: 50-58)
first and third of those, and in printed text in the same two, together with A TV Dante
and Death in the Seine. Of Prospero's Books, Greenaway says
" a project that deliberately emphasises and celebrates text as text, as the
master material on which all the magic, illusion and deception of the play is
based. Words making text, and text making pages, and pages making books
from which knowledge is fabricated in pictorial form these are the persistently
forefronted characteristics."
(Greenaway 1991b)
But Greenaway's pages are anything but simply texts and, therefore, belong to a richer
metaphor than that of the merely textual. Under a textual form of the metaphor,
hermeneutics becomes the mode of engagement for criticism, and exposition of work
becomes a form of rhetoric involving the devising of arguments, their arrangement,
and their stylistic articulation (Bordwell 1989: 205). Under this metaphor, the concepts
of palimpsest, temporal mosaic, cultural dominant, of iconography and iconology, and
even of calligraphy can be important.
A very important feature of the approach is that there will be a defined place
for a particular kind of reader constructed in the text
" it should be stressed that this implied reader is another aspect of the
process () The text itself carries this place and when it is occupied by a co-
operative reader that is someone willing to play the game according to the
rules a reading takes place which completes the processes which are carried in
In Greenaway's work, however, we are only sometimes to expect defined places for
certain kinds of assumed readers and on others to expect defined places and roles for
certain kinds of assumed interlocuters of other sorts (viewers, art historians, literary
detectives, decipherers, cryptanalysts, correspondants, iconographers, and so on). If
his images are conceived of as pages rather than simply as page-sized views of texts
and therefore tend not to support any simple version of the textual metaphor,
nevertheless, because of the way his films cross-fertilise future projects, Greenaway's
work repays some investigation of his intertextuality.
yet impression constructed in memory and negotiated through and with it in each
case
Meaning is dialectic. For example, beyond the scale of the single room our
understanding of any building derives not from direct experience but from a synthesis
negotiated in and with memory. Collections of spaces cannot be appreciated as
collections simultaneously. We take time to move from event to event or from space
to space. Even the single room cannot be directly appreciated as a room. It can only
be appreciated as a series of views. That is, the material and other 'facts' before us
may be regarded as postulates to which we respond with interpretations counter-
postulates. More generally, meaning is a matter continuously negotiated in and
through everyday life. 'Negotiated' is the key term. It suggests (or, is meant to
suggest) that 'deriving' meaning takes time, that meaning is continuously variable,
dependent on whim or fancy, health, attentiveness, and so on. Meanings, therefore,
are constructed.
6 Bonta (1979: 110), remarks that " meaning is not an attribute of form, but a belief
about form ". (Emphasis in the original).
I am prepared to deny that there can be fixed relations between the realms of (verbal
or textual) discourse and the realm of built form. That is, I believe that the articulated
interpretation of a work of architecture and, hence, the value of that work of
architecture, cannot be fixed once and for all time. The best we can achieve is a
continuously negotiated range of opinion, variously arrived at. It is not only that
7 And can, therefore, appreciate the point P Carter (1987: 7) is making in the following
passage:
punctuates our experience, providing anchorage for meaning. The measure and
relative scale of spaces, the articulation of their plane surfaces, other features of the
ambience of those spaces, and the topology of spatial arrangements contribute both
to the shelter of the everyday situations there unfolding and to the physical and
communicative punctuation of the stream of behaviour that is everyday life. Speaking
of the design of the narthex for the Chapel of St Joseph at Box Hill, Peter Corrigan had
this to say, for example:
"It seemed to me that there was a requirement for a type of intermediate space,
a type of airlock where they could marshall their concentration and then they
could (in the traditional way) sort of straighten the tie, give the hair a bit of a
Boundaries, cleavages, barriers, and partitionings both structure and are structured by
everyday life. Architects are designers of membranes between things, of
underscorings, of parentheses, and of strategic gaps. By providing partitions between
events and obliging us to make an effort and to take our time over passing from one
event to another, the built environment serves to punctuate everyday life.
4.5.3 symbolisation
Collectively, we constantly interrogate the image we have of ourselves as a people, as
a culture. Constantly, we modify that image through the contributions we make in the
acts of our everyday lives to the material and conceptual worlds we inhabit. Thus, we
are engaged in a continual, mutual dialectical negotiation of the image we have of
ourselves as a collectivity, and we are engaged in a continual, mutual dialectical
negotiation of the supporting conceptual structures that are embedded in our culture
and that provide its continually transforming intellectual scaffolding, its recognised
frames of reference and points of view, motifs of argument, and systems of
categorising discriminations. This is where art is invited to participate in everyday life.
Thus, according to Sperber (1974), any symbolisation is a way of knowing the world, a
way of structuring our comprehension of it.
Architecture (or, more accurately, its physical manifestation), because it endures and
because it so public and will be encountered by so many members of a society and by
visitors to it, helps provide longevity for a culture's vision of itself. Architecture, too,
is expected to be a symbolising activity, whether designers intend it to be so or not.
If punctuation articulates the spatial realm (and, to a large extent, the temporal), then
symbolisation articulates the inextricably associated realm of meaning.
9 For example :
experience it to the particular game of the conception that underlies the work of
architecture and it will have to orientate those who experience it to where they are
within the game of the work of architecture as experienced. There is, therefore,
another form of the expectation of orientation from works of architecture that are
intended to be works of art orientation to the 'architecture game' of a work of
architecture. Further, as with a work of art, orientation to the 'architecture game' of a
work of architecture entails orientation to an unfolding hermeneutic heterarchy:
orientation to the 'architecture game', and, as a work of art, to the game of the work
of art that it is, to an act of interpretation, to an interpretation, to an interpretative
context (an art situation), and to overarching frames of reference.
"Cinema is far too rich and capable a medium to be left to the mere
storytellers."
(Greenaway 1985)
"I think civilisation has got where it is not by being led by its emotions, but by
degrees of rationalisation, in many complex ways. Why can't this be the subject
satisfying. I try very hard to put that into the cinema so that maybe other
on 'difficulties' of access
>>> issues of art, in art
"if art is to have any function at all, it must be exercised through what it does
" the essence of art () lies in precisely what cannot be understood through
simple extensions of the same principles that serve us in daily life. Inevitably,
remember notion of art as a selection from a Bill of Fare ('Screen', 3RN, Oct,
first week)
"I suspect that all the great cultural landmarks of the last two centuries have in
some way been provocative and probably been speculative to be one may
mean to be the other. () I think any work of art which is worthwhile gives up
its meaning slowly and you have to work at it an activity that can make the
satisfaction greater. I also believe that all great works of art acknowledge their
own existence in some way. They see themselves from the outside."
"I'm very concerned about ideas of permanence and impermanence. I mean, can you
"What happens if you put this sort of idea with this circumstance? What do you
get when you combine this view of things with these sets of pictures? If this is
"Sometimes I think I'm not really a film-maker but a painter working in cinema, or
"Instead of merely excising the narrative, Greenaway plays wickedly funny games
with its absence, suggesting through visual allusion countless possible stories,
latticing conspiracies as a safety net across the void but at the same time subtly
suggesting the ultimate danger that not just the film but its subject matter (life
"And if we think there is an order, could it be that this is our paranoid nature
(French 1985)
structurings
"If you like, the architects, by which I mean myself and Sacha (Vierny), are
plans () Classicism is all about balance, and harmony, and symmetry, and we
"My films are very Apollonian; they are concerned with the classical ordering of
use of composition."
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BAUDRILLARD, Jean (1983) Simulations, trans Paul Foss, Paul Patton & Philip Beitchman, Foreign
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