One of the points that impressed me the most in the article is how the architecture in the movie shows the social situation. For example, in the 1930s and 1940s, the United States faced a severe Great Depression, many people faced unemployment and bankruptcy due to the economic depression, which made it difficult for them to gain a sense of security in modern cities. Therefore, movies of that era (such as “The Enchanted Cottage”) can often separate people from modern cities, combine traditional happiness with traditional architecture, so it can reflect the problems brought about by fast economic development and

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This article talks about the connection between modern architecture and cinema. Like movies, architectural space constructs detailed motion images, dynamic trajectories of living space and life narrative. As the meaning of modern architecture, it is inseparable from the lives of modern people. At the same time, movies come from life. Through modern architecture, movies can better narrate some more realistic and sharp topics about power, status, crime and so on. While some traditional buildings will appear in the movie, which can make people more immersive, let people watch some more empathetic experiences or events, and more in line with real

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The article mainly discusses the relationship between modern domestic architecture and film, that how modern architecture implies different characters’ personalities and actions. In the 20th century, there’s an interesting phenomenon that modernist buildings are usually connected to danger, transgression, or even crime. In contrast, the conventional accommodations usually represent traditional love and happiness. For example, in James Bond series, most criminals site their accommodations in remote, modern hide-aways. This stereotype has provided the audience an inertial way of thinking to connect modern buildings with evil plans and encouraged filmmakers to focus more on modern architecture design in films. — Li

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Both Rosa and Wojcik demonstrate the way modern domestic architecture helps to construct the film narrative and reflect the phenomenon and problems in modernism and urbanism, with a particular insight into the classical Hollywood movies in the sixties and seventies. In Rosa’s, there is a mutual dynamic between architecture and film in that “Hollywood films have both reflected and shaped American views about modern domestic design.”1 On one hand, the setting of modern dwellings presents urban life, along with technological and social developments. On the other hand, modern domestic architecture has fallen into a stereotype that arbitrarily and consistently associates

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In the early days, there was a fear that modern homes would have a negative impact on traditional family ties. The link between traditional architecture and traditional happiness was also emphasised in the films. The author cites several films to depict villainous characters mostly living in modern homes. The houses are also mostly built on top of the mountains, isolated from the rest of the world. The modern homes have a unique design with large expanses of floor-to-ceiling glass, concrete, minimalist interior arrangements and extensive use of cool colours. These designs make the houses look expensive but always feel cold,

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