The fragmentation and plasticity of space in film

This paper explores the plasticity of represented space in film by focusing on how space in film can be constructed out of fragments. Motivated by previous research suggesting that the fragmentation of space in film can be hidden from viewers, we propose a framework for analysing core features of space construction in terms of three main dimensions: 1. Explicitness, or whether a space is shown visually and explicit, or only implied through sound; 2. Event orientation, whether space fragments are combined to describe a setting or to connect narrative events, and 3. Fragmentation, whether space fragments and their boundaries are overtly highlighted or hidden. Using extracts from Tokyo Story (1957), Un Chien Andalou (1929) and Wild Strawberries (1961), we illustrate how the framework can support the analysis of space fragmentation, and not only unravel the plasticity of space in film but also filmmakers’ styles and the role of space construction in narrative complexities. Finally, we apply the framework to a news video. Our analysis suggests that the plasticity of space in film is a double-edged sword in contemporary society— although it opens possibilities for creativity in storytelling, it may contribute to the misrepresentation of information and manipulation of audiences in news videos.