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AT L A S O F E M O T I O N
AT L A S O F E M O T I O N

Journeys in Art, Architecture, and Film

Giuliana Bruno

Verso, New York

This paperback edition published by Verso 2018

First published by Verso 2002

© Giuliana Bruno 2002, 2007, 2018

All rights reserved

The moral rights of the author have been asserted

1 3 5 7 9 10 8 6 4 2

Verso

UK: 6 Meard Street, London W1F 0EG

US: 20 Jay Street, Suite 1010, Brooklyn, NY 11201

versobooks.com

Verso is the imprint of New Left Books

ISBN-13: 978-1-78663-322-4

ISBN-13: 978-1-78663-323-1 (UK EBK)

ISBN-13: 978-1-78663-324-8 (US EBK)

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

A catalog record for this book is available from the Library of Congress

Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY
Contents

Acknowledgments

PROLOGUE

ARCHITECTURE

1Site-Seeing: The Cine City

2A Geography of the Moving Image

T R AV E L

3Traveling Domestic: The Movie “House”

4Fashioning Travel Space

GEOGRAPHY

5The Architecture of the Interior

6Haptic Routes: View Painting and Garden Narratives

A RT O F M A P P I N G

7An Atlas of Emotions

8An Archive of Emotion Pictures

DESIGN

9M Is for Mapping:

Art, Apparel, Architecture Is for Peter Greenaway

10Film and Museum Architexture:

Excursus with Gerhard Richter’s Atlas

HOUSE

11Views from Home

12My “Voyage in Italy”

Notes

List of Illustrations

Index
 Acknowledgments

To give acknowledgment is to revisit the landscape of people

who have helped this book come to life. In 1991 I launched an

ongoing seminar on architecture and film at Harvard University

that, in the course of navigating space, encountered the terrain of

affects. My first debt of gratitude thus goes to my students, who

accompanied me on this intellectual adventure, witnessed the

preliminary formulations of the project, and contributed greatly to

its growth. They have been a challenging and responsive audience.

Over the years, parts of this book were developed in the form of

lectures. I am particularly grateful to Annette Michelson for inviting

me to speak at the pioneering symposium she co-organized on the

“Cine City: Film and Perceptions of Urban Space, 1895–1995,” held

in 1994 at the Getty Center for the History of Art and the

Humanities, in Santa Monica. Her continuous support of my work,

her valued friendship, and her inspiration have enabled me to

envision what the larger scope of the book could be. I also would

like to thank Clark Arnwine, Jesse Lerner, and Ruth Bradley for

publishing a short version of my presentation in a special issue of

the film journal Wide Angle in 1997.

The crossover of my work into architectural territory has been

enriched by a long-standing dialogue with the faculty of Princeton

University’s School of Architecture; there I presented early stages of

the book as part of a 1994 lecture series and discussed the finished

work in 1999, under the auspices of Gaetana Marrone and the

Program in Women and Gender Studies. I am indebted as well to

Michael Hays, Jorge Silvetti, Mohsen Mostafavi, and all who have
welcomed me to speak often at Harvard University’s Graduate

School of Design; and to Pellegrino D’Acierno for making my work a

part of “(In)Visible Cities: From the Postmodern Metropolis to the

Cities of the Future” at Columbia University and Cooper Union in

1996. I acknowledge equally the stimulating panel on film and

architecture held at Pratt Institute’s School of Architecture in 1994,

and am grateful to Frances Schmitt for inviting me to speak as part

of the Alcan Lectures at Vancouver’s Museum of Art in 1995.

Another of the book’s bridges was strengthened by an invitation

to the plenary session at the 1994 meeting of the American

Association of Geographers, in San Francisco. I would like to thank

the sponsoring groups of cultural geographers, the journal

Environment and Planning D: Society and Space, Patricia Meoño-

Picado, and Mona Domosh. The occasion provided the additional

pleasure of roaming a hotel inhabited by thousands of geographers

and conversing with Derek Gregory and Michael Dear, among

others.

A fruitful crossing into the realm of art took place in Paris at the

symposium “Art(s) and Fiction,” organized in 1996 by Pierre Sorlin,

Marie-Claire Ropars, and Michèle Lagny, who published an evolving

section of the present work in a book of the same title. My

“Geography of the Moving Image” was fittingly developed at a

seminar and lecture I gave in Japan in 1995, at the University of

Tsukuba, for which I thank Yoko Ima-Izumi; and at the Screen

Studies Annual Conference, in Glasgow, where I attended the

opening plenary in 1994, for which I thank the editors of Screen. The

thoughts that have become “My ‘Voyage in Italy’” were appropriately

tested in various transatlantic situations: especially at the 1997

AISLLI Conference of Italian Studies at UCLA, where thanks are

due to Luigi Ballerini, who invited me to the plenary, and to

Marguerite Waller and Lucia Re for their support; and at the 1998

Società Italiana delle Letterate Conference, in Orvieto, Italy, where

Paola Bono invited me to give a keynote address, Paola Zaccaria

helped me to relocate my voice in my mother tongue, and—

beginning with Lucilla Albano’s sensitive response—many made me

feel they could hear it. Thanks to Patrizia Calefato for editing the

proceedings.

A huge debt of gratitude goes to those who offered to comment

on the entire manuscript: the gift of their intellectual friendship is

quite moving. I am grateful to Stephen Greenblatt, who has given

me the support of his wonderfully restless intellectual passion

throughout the years and, in this case, put it in the service of a very

helpful reading. I also thank Tom Conley, who reviewed the work in

close cartographic sympathy and provided a generous and ample

reading that spoke to me deeply. I am equally indebted to Mark

Wigley, who amiably and scrupulously made his way through the

different layers of the work, engaging me with his attentive,

sensitive way of thinking and reading. His suggestions, always to

the point, led to changes that substantially improved the

manuscript.

A number of other colleagues and friends also have been helpful

in a variety of ways. I thank Beatriz Colomina for many gestures of

intellectual simpatia, sustained dialogue, and good times. Norman

Bryson’s interest in this work from the beginning, his collegiality,

and his support have sustained its progress. I cherish the ritual café

conversations I have had with Wolfgang Schivelbusch, which always

go beyond the object of our work and touch the very process of

writing. Similarly, I value the long-standing communication I have

shared with Tom Gunning on our mutual scholarly passions. A

dialogue on film and life matters with Laura Mulvey and Miriam

Hansen has mattered much. I am indebted to Chantal Akerman, not

only for letting me into her exemplary artistic world but for being a

real friend at a time when it was most appreciated. I am grateful to

Ewa Lajer-Burcharth, Svetlana Boym, and Cornel West for making

me feel that I have more than an intellectual home at Harvard; and

to Thyrza Nichols Goodeve for offering inspired commentary of my

work on art and film. For their involvement, thanks also are due to

Robert Brain, Elena Dagrada, Alice Jarrard, Joseph Koerner, Giuliana

Muscio, Louise Neri, Katharine Park, Isabel Segura, Robert Sklar,

John Stilgoe, and Henri Zerner.

I also thank my research assistants, who have helped me to

navigate the intricate labyrinths of libraries and archives and who

have been my closest interlocutors at crucial times. I am grateful to

Nick Popovich, who assisted me in the early stages as I tested his

research skills with my many tentative directions; and to Andrew

Herscher, who was helpful in the evolution of the architectural

research. Thanks also are due to Renata Hejduk; to Curie Chong for

copyediting the work-in-progress; and to Geoffrey Taylor for helping

with permissions for the illustrations. For her many contributions

and intellectual energy, I am particularly grateful to Charissa

Terranova, who truly has shared my enthusiasm for this work and

took part at deep levels in many moments of discovery.

Many individuals and institutions facilitated my research and

helped me to realize a visual form for my ideas. The book owes

much of its textual and illustrative shape to the extensive support of

the many branches of the Harvard University Libraries, whose

resources were so phenomenal that at times my research seemed

hopelessly unending. For their expertise and for their understanding

of my research needs, I particularly thank: Roger E. Stoddard,

Curator of Rare Books, and Anne Anninger, Curator of Printing and

Graphic Arts, at Houghton Library; David Read at the Special

Collections of the Harvard Law School Library; and Dana A. Fisher

of the Ernst Mayr Library of the Museum of Comparative Zoology. I

also extend my thanks to Violet Gilboa of the Judaica Division at

Widener Library. I am especially indebted to the resources of the

Francis A. Countway Library of Medicine; the Theatre Collection;

and the Map Collection at Pusey Library and its director, David

Cobb. For my research elsewhere in the United States, I thank the

staffs at the Huntington Library, San Marino, California; the

Pierpont Morgan Library, New York; Scala/Art Resource, New York;

and the Theatre Historical Society of America, in Elmhurst, Illinois,

especially Richard Sklenar, Executive Director. I extend special

thanks to Pat Morris at the Newberry Library, Chicago, for his help

in my research on imaginary maps.

In my archival research overseas, Donata Pesenti Campagnoni,

Curator of the Collections at the Museo Nazionale del Cinema in

Turin, was helpful. I also wish to thank Cécile de la Perraudiere at

the Archives Louis Vuitton for a delightful tour of the private

museum and generous access to its archives; and Pilar Vélez and

Núria Rivero, Director and Curator, respectively, of the Museu

Frederic Marès, Barcelona, for a special tour and access to the

museum’s collection. I am grateful to Laurent Mannoni for his

generous offering of material from the collections of the

Cinémathèque Française; to the staffs of the Bibliothèque Nationale

de France and the Musée des Arts Décoratifs, Paris; and to Bruno

Ciufo at the Istituto Centrale per il Catalogo e la Documentazione,

Rome, for guidance through the maze of this archive.

Many others sustained my visual research. I am grateful to

Gerhard Richter and his gallerist, Marian Goodman, for offering

generous access to the artist’s work; and to Peter Greenaway and his

assistant, Annabel Radermacher, for opening the filmmaker’s private

archive to me. I am equally indebted to Lillian Kiesler for access she

provided to Frederick Kiesler’s archive; and to Susan Edwards,

former curator of the Hunter Galleries, for leads into John Eberson’s

work. For their generous contribution of images for reproduction,

thanks are due to Louise Bourgeois and Jerry Gorovoy, and Robert

Miller Gallery; Heide Fasnacht; Toba Khedoori and David Zwirner

Gallery; Annette Lemieux; Annette Messager; Seton Smith; Hiroshi

Sugimoto and Sonnabend Gallery; J. Morgan Puett and Shack Inc.;

and Bernard Tschumi. I also thank Lynne Cooke, Curator at Dia

Center for the Arts, and Karen Kelly, Melissa Goldstein, and Bryan

Walker; Lia Rumma and her gallery manager, Paola Potena; Carolyn

Alexander of Alexander and Bonin; Jo-Ann Conklin, Director of the

David Winton Bell Gallery, Brown University; and Michelle

Maccarone and Claudia Altman-Siegel at Luhring Augustine. Special

thanks are due Karen Polack at Sperone Westwater for fulfilling so

many requests.

For their contributions to the book’s visual text, I am also

indebted to Giorgio Busetto, Director of the Fondazione Scientifica

Querini Stampalia, Venice; Max Oppel at Wittelsbacher

Ausgleichsfonds, Munich; Leah Ross of the Museum of Fine Arts,

Boston; Shaula Coyl at the Los Angeles County Museum of Art; W.

Otterspeer at the Akademisch Historisch Museum of the University

of Leiden; and to the Pinacoteca di Brera, Milan; Barbican Art

Galleries and Whitechapel Art Gallery, London; and Oeffentliche

Kunstsammlung Basel, Kunstmuseum.

At the Harvard Film Archive, I wish to thank the former and

current curators, Vlada Petríc and Bruce Jenkins, as well as John

Gianvito, Steffen Pierce, Heidi Bliss, and Katie Trainor, for

supporting my work on film and for their efforts to make the archive

into a growing resource accessible to all scholars of cinema. The

Film Study Center at Harvard University enabled me to digitize

prints and to obtain frame enlargements of films. I am grateful to its

founder, Robert Gardner, and its director, Richard Rogers, as well as

to Dana Bonstrom and Mike Mislind, who lent technical expertise.

Sabrina Zanella-Foresi, my former teaching assistant, has been not

only supportive of the book’s project but of invaluable help during

the process of illustrating the filmmakers’ work. I have been

similarly supported by Allan Shearer, my current teaching fellow,

and able to rely on him in many ways that go far beyond his gifted

handling of various technologies. To the film distributors, and

particularly to Cinepix and World Artists for their help with film

stills, I offer special thanks.

I am very grateful to Colin Robinson at Verso, New York, for

sustaining this project at its inception and for allowing me the time

and space needed to carry it through to the end. Janet Jenkins was

more than a thoughtful editor as she worked on the manuscript of a

writer for whom English is not a native language; she gave a rare gift
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