The Art of Filmmaking: A Holistic-Phenomenological Approach—Case Study of the Film And the Alley She Whitewashed in Light Blue

Abstract

This paper aimsto present my interpretation of the holistic-phenomenological worldview adopted by me in Architecture, being my main profession both in theory and practice, to the way it was implemented in the process of creating my film.  A process that forms a coherent representation of a complete worldview, fundamentally different from conventional film production. The holistic worldview has stood at the forefront of the Scientific discourse in disciplines like phenomenology, neurobiology, psychology, cognitive sciences, recent theories of complexity, and is in convergence with the fundamentals of Buddhist science and philosophy. Worlds to which my work is associated with, apparently underlying the essence of my film and the way it was created. My personal experience in multidisciplinary fields of the arts, allows me to state confidently that there is no essential difference between designing a town square, a building, a chair, a layout of a book or a frame of a film. The same set of rules that determines the correct relationship between the parts and the whole and gives a sense of unity and beauty in architecture applies in its abstract definition to anything consisting of matter, form and color, at any level of scale. The difference lies in the content, the components, and the level of complexity. The basic argument that will be presented here is that to change the feeling of the environment and create beautiful places we really feel ‘at home’, as well as creating a timeless film generating emotional experience, what is needed is not a change of style or fashion, but a transformation of the mechanistic worldview underlying current thought and approaches to the holistic one.