Mirada objetiva y dimensión subjetiva del cine en Le Corbusier

Abstract

Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum.They materialized in the conception and construction of screening rooms for cinema, the participation in projects andcinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers LeCorbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generationand highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work LePoème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at theservice of architecture and never the other way around, and winding up with the use of soviet montage as a subjectivemessage of the filmmaker who, in this case was also maker of the architecture.