Chris Rogers writer on architecture and visual culture


Link to pieces I've written for others' sites; just click the screenshot to take you there. Follow the links to subsequent posts in a series from the landing page, and of course feel free to explore other pieces on the sites, all of which I recommend.

Beyond the Frame was a monthly, twelve-article series I wrote for The Big Picture on the relationship between architecture and film. Each takes one aspect of the topic and examines it in the context of a selection of films of all ages, styles and genres.

The article titles - all film-making terms - give clues but subjects covered include sets, lost architecture, visions of the future and differing scales of architectural space in film.

A kind shout-out from Trehearne Architects from when I took possession of their historic archive of project reference material, which takes you to their site and thence to my blog piece. I am still fielding the odd enquiry from interested parties!

On Excuses and Half Truths, an article of mine on the seminal anime series Bubble Gum Crisis; hugely influenced by Hollywood sci-fi of the 1980s, this 8-part series about an armoured-suit-wearing, all-female vigilante group fighting a corrupt corporation in the Japan of the future was, in turn, a massive influence on Japanese SF and animation.

More for TBP, this time a short series of five pieces called Brand X about fictional brands in films. Each piece is done in a different style as befits the brand or product, so there's a magazine-style flying car review, a stock market report from the future using companies from SF films and an interview with Eldon Tyrell from Blade Runner.

A two-part analysis (for E&HT again) of why the three Patlabor anime films say as much about the Japan of the past 40 years as they do about the future, covering the socio-political history of the country as well as the films themselves.

A piece on World War Z for Little White Lies, looking at the making of the film and the aims behind it. I also examine the context in which it sits, namely that of other 'end-of-the-world-as-we-know-it' films.

This piece for E&HT assesses the sublime Miami Vice, Michael Mann's 2006 film version of the television crime series that made his name. An exceptional work, here given an in-depth analysis.

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