By Barbara Mennel
Films approximately towns abound. they supply fantasies if you realize their urban and people for whom town is a remote dream or nightmare. How does cinema remodel urban planners’ hopes and town dwellers’ fears of recent urbanism? Can an research of urban movies resolution the various questions posed in city experiences? What sorts of imaginative and prescient for the long run and pictures of the previous do urban motion pictures supply? What are the alterations that urban motion pictures have passed through?
Cities and Cinema places city concept and cinema reviews in discussion. The book’s first part analyzes 3 vital genres of urban motion pictures that stick to in historic series, every one linked to a selected urban, relocating from town movie of the Weimar Republic to the movie noir linked to la and identical to Paris within the cinema of the French New Wave. the second one part discusses socio-historical topics of city reports, starting with the connection of movie industries and person towns, carrying on with with the portrayal of struggle torn and divided towns, and finishing with the cinematic expression of utopia and dystopia in city technological know-how fiction. The final part negotiates the query of id and position in a world international, relocating from the portrayal of ghettos and barrios to town as a atmosphere for homosexual and lesbian wish, to finish with the illustration of the worldwide urban in transnational cinematic practices.
The booklet means that modernity hyperlinks urbanism and cinema. It bills for the numerous adjustments that urban movie has gone through via strategies of globalization, in which town has constructed from an icon in nationwide cinema to a privileged web site for transnational cinematic practices. it's a key textual content for college students and researchers of movie reports, city reports and cultural studies.
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Additional info for Cities and Cinema (Routledge Critical Introductions to Urbanism and the City)
These connections do not contradict the understanding of national cinema; even during its height, transnational exchange was common, sometimes resulting from migration, as when ﬁlmworkers from the Weimar Republic ﬂed the Hitler regime and found work in Hollywood. Later, French directors paid homage to individual ﬁlmmakers and actors in Hollywood who sometimes, like Fritz Lang, were ﬁlm émigrés from Germany. Section I provides a roadmap to these cinematic exchanges that demonstrate continuity in the ﬁlmic representation of cities in the form of topical and aesthetic similarities.
Instead, however, he travels to the city with his wife and experiences with her its pleasures and dangers. On their arrival, echoing Simmel’s description, traffic surrounds and overwhelms them and the wife is almost run over. They ﬁnd many distractions – going dancing, having their photo taken, and visiting a barber shop. Sunrise also refers to the role of cinema in negotiating the contrast between country and city, generally associating cinema with the latter. When the city woman tells the man about the city, a ﬁlm is projected against the rural sky transposing the city onto the rural environment.
Kracauer was also critical of the entertainment industry’s mimetic claim, which, he argued, displaced history and sold daydreams to the newly constituted audience of female white-collar workers. He particularly reproached the “surface” culture produced by modernity, which he saw manifested in the Ufa studio in Neubabelsberg: “350,000 square meters house a world made of papier-mâché. Everything guaranteed unnatural and everything exactly like nature” (281). This surface culture was seen by theorists as produced by capitalism’s attempt to turn content into a product for consumption.