Screening the City

ISBN 13: 9781859844762

Screening the City

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9781859844762: Screening the City

Throughout the book, the cinema's artistic encounter with the city always intersects with a social and political engagement in which urgent issues of class, race, sexuality, the environment, liberty, capital, and totalitarianism are everywhere at stake.
The city has long been an important location for filmmakers. Visually compelling and always modern, it is the perfect metaphor for man's place in the contemporary world.
In this provocative collection of essays, films as diverse as The Man with the Movie Camera, Annie Hall, Street of Crocodiles, Boyz N the Hood, Three Colors Red, and Crash are examined in terms of the relationship between cinema and the changing urban experience in Europe and the United States since the early twentieth century. Peter Jelavich, for example, links the suppression of the creative, liberal Weimar Berlin in the 1931 film Berlin Alexanderplatz to the rise of the Nazi regime and the end of one of the great eras of modernist experimentation in German visual culture; Jessie Labov considers Kieslowski's treatment of the Warsaw housing blok in Dekalog in terms of Solidarity's strategy of resisting totalitarianism in 1980s Poland; Allan Siegel examines the motif of the city in a broad range of American and international cinema to demonstrate how film and society since the 1960s have been driven by the fading of mass political radicalism and the triumph of privatization and capital; Paula Massood uses the socially illuminating theories of Mikhail Bakhtin to examine the representation of the ghetto and urban underclass in recent African-American films such as Menace II Society; and Matthew Gandy examines the focus on disease in Todd Haynes's [Safe] as a metaphor for social and spatial breakdown in contemporary Los Angeles.

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About the Author:

Mark Shiel is Faculty of Arts Fellow, and Tony Fitzmaurice is College Lecturer, in the Centre for Film Studies/UCD School of Film, University College Dublin

From Publishers Weekly:

This anthology of academic essays from England and the U.S. addresses the changing conception of the "city" in the history of cinema, and vice versa, through the filter of ongoing debates about the definitions of postmodernism. In the opening essay, German and Russian studies professor Carsten Strathausen layers interpretations of Adorno, de Certeau and other critics of the Enlightenment onto the work of 1920s filmmakers DzigaVertov and Walter Ruttman, to arrive at the fairly bland conclusion that "the city, much like the cinema, presents an inherently ambivalent picture of modern life which cannot be rendered fully present in its entirety." Matthew Gandy situates Todd Haynes's Safe in its peculiarly suburban, Los Angeleno topos, the "tessellated landscapes of...its vast semi-arid hinterland," and explains the film's critique of New Age self help discourses through a detailed recapitulation of the plot. Other writers address the brothers Quay, "New Jack Cinema," and Annie Hall, using such theoretical heavyweights as Gilles Deleuze, Edward Soja, and Mike Davis for backup. Overall, the book's stylish, if greatly over-theorized premise, that popular cinema shapes and reflects the larger psychopathologies of Western culture, and the other way around, finds happy verification among its contributors. Using the inherent sex appeal of film studies to spice up such otherwise musty fields as geography, sociology and social theory, this collection's uneven and un-urgent arguments preach eloquently to the converted.
Copyright 2003 Reed Business Information, Inc.

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Editorial: Verso Books, United Kingdom (2003)
ISBN 10: 1859844766 ISBN 13: 9781859844762
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Descripción Verso Books, United Kingdom, 2003. Paperback. Estado de conservación: New. New. Language: English . Brand New Book. The city has long been an important location for filmmakers. Visually compelling and always modern, it is the perfect metaphor for man s place in the contemporary world. In this provocative collection of essays, a diverse range of films are examined in terms of the relationship between cinema and the paradigmatic urban experience in Europe and the United States since the early twentieth century. Moscow, Leningrad, Berlin, Prague, and Warsaw - sites of dramatic upheaval in the 1920s-1930s, and again in the 1970s-1980s - feature strongly in the first part of the book. In the cinematic representation of these cities, modernist experimentation combined with social and political change to produce such memorable films as The Man with the Movie Camera, Berlin: The Symphony of a great City, Berlin Alexanderplatz, and, more recently, the work of Krzysztof Kieslowski, Jan Svankmajer, and the Brother Quay. The different but comparable space of the North American city since World War Two provides the primary focus for the second part of the book. Here, New York, Los Angeles, Chicago, San Francisco, and Toronto proved the settings for an investigation of the relations hip between cinema and race, and cinema and postmodern global capitalism, in a comprehensive range of films from Point Blank, Medium Cool, Network, and Annie Hall in the 1960s and 1970s to Boyz N the Hood, Falling Down, Pulp Fiction, [Safe], Crash and The End of Violence in the 1990s. Throughout the book, the cinema s artistic encounter with the city always intersects with a social and political engagement in which urgent issues of class, race, sexuality, the environment, liberty, capital, and totalitarianism are everywhere at stake. Nº de ref. de la librería AAJ9781859844762

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Editor-Mark Shiel; Contributor-Jude Davies; Contributor-Matthew Gandy; Contributor-Martin Gaughan; Contributor-Paul Gormley; Contributor-Peter Jelavich; Contributor-Jessie Labov; Contributor-Paula J. Massood; Contributor-Tyrus Miller; Contributor-John Orr; Contributor-Allan Siegel; Contributor-David Sorfa; Contributor-Carsten Strathausen; Contributor-Darrell Varga
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Descripción Verso Books, United Kingdom, 2003. Paperback. Estado de conservación: New. New. Language: English . Brand New Book. The city has long been an important location for filmmakers. Visually compelling and always modern, it is the perfect metaphor for man s place in the contemporary world. In this provocative collection of essays, a diverse range of films are examined in terms of the relationship between cinema and the paradigmatic urban experience in Europe and the United States since the early twentieth century. Moscow, Leningrad, Berlin, Prague, and Warsaw - sites of dramatic upheaval in the 1920s-1930s, and again in the 1970s-1980s - feature strongly in the first part of the book. In the cinematic representation of these cities, modernist experimentation combined with social and political change to produce such memorable films as The Man with the Movie Camera, Berlin: The Symphony of a great City, Berlin Alexanderplatz, and, more recently, the work of Krzysztof Kieslowski, Jan Svankmajer, and the Brother Quay. The different but comparable space of the North American city since World War Two provides the primary focus for the second part of the book. Here, New York, Los Angeles, Chicago, San Francisco, and Toronto proved the settings for an investigation of the relations hip between cinema and race, and cinema and postmodern global capitalism, in a comprehensive range of films from Point Blank, Medium Cool, Network, and Annie Hall in the 1960s and 1970s to Boyz N the Hood, Falling Down, Pulp Fiction, [Safe], Crash and The End of Violence in the 1990s. Throughout the book, the cinema s artistic encounter with the city always intersects with a social and political engagement in which urgent issues of class, race, sexuality, the environment, liberty, capital, and totalitarianism are everywhere at stake. Nº de ref. de la librería AAJ9781859844762

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