Comparative Interpretation of the Distancing Effect Concept in the Works of Cinema and Architecture: Based on the Instances of Modern and Postmodern Architecture

Cinema has been constantly interacting with architecture since the early days of its formation. One of the fields of this interrelation is thinking about concepts that exist in theories of cinema and can be followed in the realm of architecture. The “distancing effect” concept, also known as estrangement, alienation effects, V-effect (Verfremdungseffekt in German) which has influenced many theorists of cinema and filmmakers is one of them. This concept can be defined in an example. While watching the drama, the individuals experience sensory and emotional tensions and identify themselves with the actors, and consider everything as reality, but this process is disturbed by the “distancing effect”. They become aware that they are watching a show, and therefore they are separated from the belief that the events are real and look at the work with a distant and wise view, away from emotional conflicts. In this way, imaginations and illusions disappear and the audience is completely alert with a seeking and active mind and ready to think. The “Distancing effect” was developed in many art forms to break simple immersion and identification and to provoke self-awareness, social awareness, and reflection. The issue of the present article is to follow up “distancing effect” concept in architecture and its purpose is to interpret the manifestations of this concept in architectural works. The research method is qualitative, based on theoretical discussions in library resources, “distancing effect” concept has been explained. Cinema has been used as an intermediary domain for a better explanation of “distancing effect” approaches so that through it architectural instances can be found more easily. The contents of the sequences of some cinematographic works have been analyzed. By adapting it to the world of architecture, examples of this concept have been shown in architectural works. In this article, five categories of insideness and outsideness, main narrative and sub-narrative, objectivity and spatiality, parallel narrative, and anachronism are summarized, which can lead to the “distancing effect” both in architecture and cinema. In conclusion, it became clear that the “distancing effect” concept isn’t only dedicated to literature or dramatic arts, but also it could be revealed in the field of architecture. Different works of cinema and architecture from a wide geographical location are disclosed as instances of the “distancing effect”. As was shown, different famous filmmakers such as Antonioni, Tarkovsky, Kiarostami, Wajda, Wenders, von Trier, Mankiewicz, Bertolucci, and some others used the “distancing effect” in their works. It is notable that, Brecht theorized his concept in the twentieth century, but many of the buildings of this research belong to an older historical period. This shows many architects used this concept consciously or unconsciously in their works because they want to invite individuals to think, explore, be active, interpret, and be aware of what they are looking at. In the end, it could be explained that the work of architecture takes a more important role, it is not only a place to provoke our sensations, but also, it’s a universe for deep contemplation and thinking.