Where and how does one display something that has already been displayed? This paper aims at finding a suitable ‘medium’ in which to display and exhibit motion pictures and through a study of motion picture theory and history find a suitable means of display and exhibition. Both museums and films are now recognized as key sites for the production of historical knowledge and the construction of cultural memory, but what they share in how they present the world remains largely unexplored. This paper focuses on the intersections between themes space and film practices and their application in planning and design.
Aiming to explore themed entertainment design and the intersections with respect to “narratives” and “story telling practices” between the a themed space and motion pictures and suggest a “medium” In which to represent visual media that Is Motion Picture, thereby proposing the creation of a ‘story place’ using aspects of film history and theory, thereby devising a medium of experiential storytelling l. Introduction Since the invention of Motion Pictures, audiences have been entertained, enthralled, enchanted and encompassed by its world.
Over the decades, there have been a inconsiderable number of museums specializing In Cinema and a hundred or more film libraries. Their geographical distribution, however, vanes enormously as most of them are found in Europe and very few in Asia. In this centenary year, it is fitting to pay tribute to the visual medium that jumped off the screen and has come to be recognized as a way of like – the Cinema of the Indian sub-continent. II. Themed entertainment design and how it has been studied.
Themed Entertainment Design Involves the creation of spaces around a given setting or theme for the purpose of public education, recreation and amusement. If the term were to be broken down it would amount to this – Theme A subject of artistic representation. An implicit or recurrent idea; a motif. Simply put, a recurring ‘concept’ Entertainment An act, production, etc. , that entertains; diversion; amusement. A form of public A study in this field of design requires a study under two broad topics: 1 . Medium Studies or the Physical Framework The study of the space that will carry out the theme or will be themed’.
The spaces studied are: A. Museum B. Theme Park C. Exposition 2. Theme Studies or the Intellectual Framework The context of the space: Evolution and history of World Cinema with an emphasis on Indian Cinema. Studies will include an overview of the history of world cinema and early film making practices leading up to the modern day approach. Further, an in depth look at Indian Cinema, its origins and development from the age of Silent Films to the present day Global approach, noting the key turning points and culturally defining moments in the 100 year long time line of Indian Films.
Ill. Medium studies A. Museum Studies The definition of a museum is one that is constantly evolving, in line with the placements in society. This definition is regularly updated (by ICON) in accordance with the realities of the global museum community. “A museum is a non -profit, permanent institution in the service of society and its development open to the public, which acquits, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.  However a museum can be defined based on more than one criterion,  by a conceptual approach(heritage, institution, society, ethics), by theoretical and racial considerations(musicology and mammography), by its functions(object, collection, mistranslation), through its players(professionals, public) or by the activities which ensue from it(preservation, research, communication, education, exhibition, mediation, management, architecture) Museums are classified as one of five types based on their intentional relationship with the audience : 1 . Object Centered 2. Narrative 3. Client Centered 4.
Community based 5. National Aspects of a Museum – Collections Management This is the curatorial aspect of museums concerned with collection, storage, retention and preservation of objects, artifacts, samples, documents. The three key inter-related elements of collection management: 1 . Registration of Collection Provides accountability for all injects, artifacts, specimens, samples that the The term is used to describe the various kinds of furniture, equipment, methods and materials that are used in the spaces used for museum’s outrage and study collections. These storage areas protect against any harmful factors.
For these reason, collections storage in not a dead space where nothing happens, but a space where preservation and protection of collections actively occurs. The museum building provides the first layer of protection between outside environment and collections. Additionally, collection storage areas should be located internally within the building and away from external walls to minimize environmental fluctuation and should be contained within its walls so that its physical environment can best be controlled. Hence, collection and storage should be separate from all other activities. 3.
Providing controlled access to collections Aspects of a Museum – Display, Exhibits and Exhibitions A medium of communication based on objects and their complementary elements, resented in a predetermined space, that uses special interpretation techniques and learning sequences that aim at the transmission and communication of concepts and/or knowledge Types of Display: 1 . Core Exhibitions Planned as part of the core concept structure or storyline of a museum, these exhibitions should use approaches that will not tire the visitor, that will not quickly look old fashioned and should use material that can endure time. 2.
Temporary Exhibitions Further classifies into Short Term, that last from one to three months. Medium Term : three to six months and Long Term: indefinite period based on visitation. These type of museums do not have to follow the museum’s overall display policy and storyline and they offer visitor’s a chance to see something new within a specific time span. They must use contemporary and innovative materials and presentation systems (See section of Expositions and Pavilions) 3. Traveling or ‘Blockbuster’ Exhibitions Aims to provide the opportunity to see and experience the content to a large number of people, in different locations.
Because of its nature, the design of this type calls for flexibility in terms of layout, so that it can be fitted into different shapes and sizes of exhibition galleries of different institutions and ease of erection, maintenance, mounting, dismounting as well as ease of transportation between venues. B. Theme Park Studies Theme park design is not architecture or urban design. Although they’re both built environment, the skills and approaches taught to architecture students are very practically minded, the later being based around theatricality and storytelling.
They may use architecture, but it’s an element no more or less important to the overall show than any other element. It means having to design for what people want to remember not what they want to forget. It is based on the merging of material environments with the world of mass media and telecommunications, a distinctive planning approach and a principle of significant scale zoning.  The distinction between the zones is facilitated by the homogeneity of a particular visual and narrative theme as well as by visual and spatial ordering systems.
A complete design of a theme park includes storyline, brand development, complete themed architecture, interior and site design. While planning a theme park the following must be considered: 1. Feasibility Study A market study of the demographics will determine the location of the theme park Conceptualizing and designing the theme park around the concept of ‘design day allows the designer to achieve a critical balance between the size of the theme park and the corresponding attendance projections. 2. Theme Related more closely to the world of media and marketing than to the actual landscape in which the theme park sits.
Relies on the synergy of cultural, political and socio economic factors that the public relate to and identify with thereby ensuring a richer experience. The essence of teeming lies precisely in the priority of ‘image’ over the phenomenological experience of the ‘place’ Each thematic method employed thus identifies, isolates, manipulates and capitalizes on certain symbolic values that already exist within the chosen cultural milieu (in this case, Indian Films) either by exploiting them for the fabrication, enhancement or diversification of the theme parks brand/ 3.
Layout Theme parks are typically arranged as: 1. Hub and Spoke A central plaza out of which the various lands spread out from (Disneyland layout). 2. Loop A walkway loop with lands located at various points around it (Universals Islands of Adventure for example). 3. Grid The traditional fair layout (as used in the front half of Universal Studios Hollywood). . Hybrid layouts include Pepco (Hub & Spoke for Future World; Loop for World Showcase) or Universal Studios Florida (Grid in the front half, loop in the back).
Circulation Theme parks provide not only social and psychological potential, but also hold much urban design possibilities. An efficient movement system in an atmosphere of socio economic groups. All this within a well-ordered, completely planned framework that serves as an excellent urban planning model. The core idea is that of Wienies and Anchors – two elements that drive guest movement. Wienies are visual magnets (scenic elements that may or may not be attractions) that guests see in the distance and which beckon guests towards them (playing off the intrigue of that looks interesting’).
Anchors are the attractions that guests know about and head to because they want to experience them. And of course, attractions might simultaneously be wienies and anchors. A third factor to consider in the Trade Area that accounts for the majority of a theme parks sales and visitors and is customarily divided into zones: Primary, Secondary and Tertiary Trade Zones. Attraction Mix : Based of demographics, local culture, age of guests. Room for Expansion A Theme Park is designed to be around for decades and should allow for development and evolution.
C. Expositions and Pavilions A world Expo (exposition, international exposition or world’s fair) is a three to six month, one time public event on a grand scale. It is a monumental and magnificent undertaking that can have significant positive world, regional and local impact. An expo generally helps to focus attention on issues of importance through its theme. Let brings immediate and tangible benefits to both the host region and community and the expos participants.
Planning and Hosting an Expo has the following kinds of organizational and managerial requirements: A definitive beginning and end A structure that can quickly shift from planning to testing to usage and then operations to close down. The Guest Experience The built environment of an expo includes individual Pavilions and other structures which proves to be quite different from the built environment that people experience in cities There is a framework of facilities and support services essential to supporting Museums of cinema are not like any other museum. Their very definition encompasses many different types of institutions and activities, from museum to chin©math©sues to archives. Some museums of cinema encompass all three roles, others only one or two of the three. Others have very little else. This research discussed the idea to masculine cinema ND the ‘configuration’ of this potential museum while considering the different paradigms for the conservation of cinema – museums but also film libraries and archives.
Cinema, a popular cultural form, has been transformed and strengthened through musicological and archival activities, but the difficulty of ‘exhibiting what has already been exhibited’: the problem of how to present the history of pre-cinema and cinema without foregoing its ‘moving essence’ is what is of concern. Question 1: What needs to be exhibited? 1 . History of World Cinema Origin People and technology instrumental in giving rise to films . History of Indian Cinema Changing styles with each decade 3.
Film making process Script Selection Pre Production Production Post Production 4. Various aspects of film making: Recording equipment Projection and viewing New age technology (egg: field of computer generated imaging) 5. Film itself Dialogues Sets Costume Soundtrack Posters Choreography 6. The people that make it all happen Directors Producers Actors Art directors Sound Directors Production Designers Question 2: What is the contribution of existing themed entertainment spaces to the configuration of the proposed spaces?
The new space for representation of Cinema will borrow from existing Museum practices: A mix of all 5 typologies to represent Cinema – treasure based, powerful aesthetic, educational, planned around a story line, of national importance, but looking least like a Museum. Also, the Collection Management and Creation aspect, including practices and methods of preservation, storage and protection. Theme Park Studies will contribute an approach to master Expositions will give the new space the greatest examples of temporary architecture for traveling exhibits and shows – which are needed to draw visitors to the space at al times of the year.
Guest Experience and way finding schemes stand out at an Exposition and can be implemented in design. Question 3: What aspects of Film theory can be considered in the architectural design of a space? Aspects like shot, montage, narration, miss en scene make up a story on screen. Why can’t these be used to tell a story in built form? Shot and shot angles: Helps to draw attention to one particular object or a set of objects considering its view from all possible angles. Making it attractive (drawing attention of people) from any angle.
Montage: The training together of these objects is focus – to form a train of thought – possibly creating a sense of direction? Narration: Like any movie, even a museum has a story to tell. A narration. Placement of spaces/rooms/exhibits to comply with the story such that a visitor is not forced to go in a particular direction by means of physical way finding measures like signs etc. But, he is naturally lead in a particular direction with signs only as a secondary aid not a primary one. To ensure that the space is experienced as planned. Miss -en – scene: In simple words. The setting.
The visual obstacle that captures a viewer and transports them to another world. Solution: Redefining the Museum – A Qualitative Approach Conventionally a museum is a single space, where all artifacts are housed under a single roof. While this system, has been successfully implemented a thousand times over all over the world, for a context as fluid and visual as Cinema, this method of formal planning might not be ideal. As an art form Film is flexible and constantly changing and developing and a single four walled multi-storey building just seems too rigid to accommodate this ever changing medium of communication.
To experience filming in its true sense – a visitor must experience all aspects of it – right from the pre – production indoor planning stages to the outdoor shooting locations to the final premiere. The proposed configuration of the space can be defined as not being confined to a single room or space under one continuous roof. It should be multiple indoor and outdoor spaces tied together by the overall theme or storyline. Further, this sort of campus style planning will enhance visitor experience, encouraging interaction in groups. Most importantly, one most consider the Indian scenario.
We are a race of crowds and mobs and nothing stirs up the crowd more than Cinema in our country (other than cricket of course) sufficient space for gathering Site Level Design: An open floor plan where indoor spaces merge with outdoor spaces. Campus style design creating large public spaces – ideal for social, interactive and participatory activities. Spaces within: Broadly, representing Cinema can be categorized under three heads: 1 . Representing Film itself. Practices, technology, defining moments. 2. Protecting Film – Archives and libraries. Storage and preservation. 3.
Film viewing – Festivals, showcases. Employ participatory techniques – like hands on exhibits, interactive exhibits and exhibits that generate individual personal content – through visitor experience. Reduce the amount that a visitor has to read and engage them through the visuals of the space. Any written matter must be displayed in the national and regional languages to ensure the inclusive nature of the space. CONCLUSION Fascinated by the world of Cinema, this research is a passionate attempt at preserving this art form and redefining existing formal environments in which such art forms are preserved.