Abstract
Cinema provides a means of understanding people, places, and landscapes, yet the field of landscape architecture has largely ignored the potential of filmic landscapes in its research, education, and professional approach. Despite this neglect, filmic landscapes have much to contribute to the field, including a deeper understanding of the multi-layered and open-ended nature of landscape. By highlighting the potential that filmic landscapes hold for the discipline of landscape architecture, a field which has been separated from its cultural roots because of its overriding adherence to a purely scientific method of inquiry, this study aims to promote a more robust and holistic understanding of landscape. Drawing predominately on film and cultural-geography research, it identifies and examines, through the use of content analysis, a range of ways that film landscapes have been conceptualized in the scholarly literature; it then explores the terminology (e.g., function, control, social construction, interpretation) underlying these conceptualizations. Existing studies on filmic landscapes often conceptualize landscapes according to the functions they perform and the ways they are interpreted, represented, or socially constructed, most commonly in terms of how they mirror the inner psychological processes of a film’s protagonist. Alternatively, some approach landscape as a living entity and agent in its own right. Both approaches reflect the mutual interdependence of landscape and human beings, and both can contribute to the development of perspectives that go beyond the physical-landscape dimension in landscape architecture and help researchers in the field to develop a broader sensitivity and awareness vis-à-vis their subject.