This thesis investigates the reasons for the reappearance of late modernist utopian architectural projects in recent artist films. Three films by three different artists (Martha Rosler, Dorit...Show moreThis thesis investigates the reasons for the reappearance of late modernist utopian architectural projects in recent artist films. Three films by three different artists (Martha Rosler, Dorit Margreiter and Patrick Keiller) have been selected for their critical use of post-war architecture in film or video and the way they look specifically at suggestions of revolutionary social changes to the concept of the house. In each chapter one film or video is examined in relation to the architectural project(s) it discusses, specifically with regards to the intentions of the architect. Rosler, Margreiter and Keiller show three ways of reflecting upon the way we think about late modernist housing, a type of housing that was extremely ambitious in attempting to change the way we think about shelter and social communities, and is, at least stylistically, still of great influence to the architectural projects that are built today. All three artists have a distinct political awareness that appears in the way they discuss architecture. Consisting of structures that consolidate ideology, architecture is fascinating for the profound influence it has on our everyday life. I argue that the return of modernist utopias in the collective cultural imagination shows a need for a cautiously hopeful attitude towards a future that moves beyond the so-called end of history. These three artists look towards futures that were suggested in the recent past, futures that have been long since dismissed, and try to find elements that may be salvaged from their way of looking towards structural social change that might be of use for us today in combating the effects of neo-liberal influence on everyday life. Because of its contingent, disembodied and fragmented nature, film proves to be the ideal medium for investigation and can be seen as creating its own version of radically subjective utopia in each case study.Show less
