| Summary: | 碩士 === 國立臺北科技大學 === 建築與都市設計研究所 === 92 === In the process of movie watching people are able to comprehend the description of the situation because the pictures of the movie represent existing facts. Through cognition of the meaning of these facts and reconstruction of these messages we interpret stories of the movie.
Representation of facts comes partly from stories of the movie and attires, languages and body actions of the actors and actresses, and partly from the scenes of the movie such as cities and architectural spaces. Together, these elements decide whether we get to comprehend the episodes of the movie. Like in a dream, incongruous episodes in irrelevant scenes only confuse the meanings, and we as a result are unable to grasp the message the movie attempts to represent. Facts eventually become meaningless image, and we can only try to guess or analyze the dream that consists of incomprehensible image.
Unlike literatures or other types of creation, a good movie does not come straight from the situations the director attempts to represent in his heart. More importantly, in the process of transforming situations into actual episodes, a movie is dependent on pictures. So, during the course of story development a movie involves many symbolic languages. It does not simply deal with episodes. Directed by Wachowski Brothers of France, The Matrix is established between 2 spatial scenes: between now and the future, between actual and virtual. There are images of cities of now and the future: the Contemporary City, as well as the post-2199 cities — Zion and the Machine City. Through the episodes 2 spatial scenes of different quality are connected. In the process of story development complicated elements like philosophies, religions, mythologies and science fictions are guiding the episodes, spaces and scenes and successfully convey the core thoughts and situations of the movie.
This paper attempts to delve into the 2 elements of the movie The Matrix: episodes and scenes. Through the religious and philosophical issues involved, it explores the deep meanings that the episodes and scenes of The Matrix propose to convey. Reinterpretation of the situations that come from these deep meanings is then taken as the starting point of a design concept.
Finally, based on transformation and manipulation of the issues and materials of the movie’s scenes and episodes, the author explores the transformation of movie into architectural design. The manipulation of design transformation will be anchored in movie theaters.
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