Abstract

For more than a century, the relationship between cinema and the city has constituted an aspect of profound fascination for film and visual studies. Constantly renewing itself, this connection represents the interaction of a complex network of technological forms, ergonomic configurations, evolutionary perspectives, human and material aggregations, all redefined within the canons of filmic language. The cities of the future, before moving from the design phase to the productive phase, have often been modulated and experienced within filmic spaces, sometimes glimpsing subsequent mutations. Through the study of video installations such as Prisma (2022) by Vhils and Hypnosis Display (2014) by Clipson and Harris, films such as Code inconnu (2000) by Haneke, Code 46 (2003) by Winterbottom, Anon (2018) by Niccol, and recent works by Refik Anadol, I will try to outline a possible visual interpretation regarding the present and future urban image.