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CIOTAT STUDIO is 1895. On March 19, Auguste and Louis Lumière produced the world's first motion picture, Workers leaving the Lumière factory. It captivated nineteenth century eyes. Its subject was familiar, but its technique was new. More extra-ordinary pictures followed: The baby's meal, The sprinkler sprinkled, Destruction of a wall. An obsession with progress led to the creation of the motion pictures, but an impulse for reflection shaped its early character. Later in 1895, when the Lumière Brothers filmed The Arrival of a Train at La Ciotat Station, everything changed. Although conceived as just another motion picture, the railroad effigy startled its audience by placing it directly in the path of an oncoming train. The film collapsed spectacle and fear into a single experience, suggesting a mechanical sublime. History was repeating itself in a curious way. The film inherited its balance of fear and wonder from its subject, the passenger railroad. The advent of train travel generated as much thrill as anxiety, as the threat of violent accidents and rampant crime countered the promise of superhuman movement. The railroad epitomized the alluring uneasiness of the industrial age, but regulations and familiarity eventually diluted its aesthetic. The arrival of a train at La Ciotat Station reintroduced the public to shock and displacement. The film provided not only an image of a train, but also (and more significantly) an experience of the railroad. The Lumière Brothers did not seek transcendence. They sought to capture the world as they saw it, but something else happened. CIOTAT STUDIO ® aspires to their accidental direction. Ciotat is cinema architecture, not cinematic architecture. Ciotat is architecture cinema, not architectural cinema.