The Cinematic City

2009 ◽  
Author(s):  
HUGO LARA CHÁVEZ
Keyword(s):  
Moving Image ◽  
Defining Moments ◽  
Mexican Cinema ◽  
Cinematic City ◽  
The City ◽  
Dynamic Interplay

This chapter discusses a city created by a cinema and a cinema created by the city, with emphasis on the dynamic interplay of these two. In this chapter the focus is on the last three decades, from 1977 to 2007, a period wherein the symbols and social expressions that were used to delineate the city have grown in strength while some others have consolidated to form Mexico’s current identity. In some of the cases, these symbols were placed in the film intentionally, while others seemed like they appeared through chance. The development of cinema in Mexico was bound with the developments of the city. Mexican cinema has played an important role as a mirror that reflected the developments within the city. Through the medium of film, the moving image became the most useful tool for visualizing the immeasurable wholeness of the city. In this chapter, the most defining moments that have found their way into the Mexican cinema are discussed. These events are the 1985 earthquake, the realities of globalization, and the defeat of the PRI in the 2000 elections. These are interwoven into narratives and images that explore dislocation, isolation and different forms of resistance.

Urban Cinematic Palimpsests: Moving Image Databases for the City

2017 ◽  
pp. 271-293
Author(s):  
Stavros Alifragkis ◽  
Giorgos Papakonstantinou
Keyword(s):  
Image Databases ◽  
Moving Image ◽  
The City

scholarly journals Filmic witness to the 1964 Kitty Genovese murder

Urban History ◽  
2016 ◽  
Vol 43 (4) ◽  
pp. 642-642
Author(s):  
CARRIE RENTSCHLER
Keyword(s):  
Violence Against Women ◽  
Social Relations ◽  
Gender Violence ◽  
Male Violence ◽  
Moving Image ◽  
High Rise ◽  
The Past ◽  
City Street ◽  
The Social ◽  
The City

ABSTRACTThis essay examines a body of films that represent and re-enact the infamous 1964 Catherine Genovese rape and murder, helping to define the crime as a problem of bystander non-intervention exacerbated by urban living conditions and the ‘high rise anxieties’ of apartment dwellers. The moving image culture around the Genovese case tells a story about male violence against women in the city through the perspective of urban apartment dwellers, who are portrayed as bystander witnesses to both the city and to the social relations of stranger sociability in the city. Films depict the killing of Kitty Genovese, sometimes through fictional analogues to her and the crime, as an outcome of failed witnessing, explicating those failures around changing ideas about urban social relations between strangers, and ways of surveilling the city street from apartment windows. By portraying urban bystanders as primarily non-interventionist spectators of the Genovese rape and murder, films locate the conditions of femicide and responsibility for it in detached modes of seeing and encountering strangers. By analysing film as forms of historic documentation and imagination, as artifacts of historically and contextually different ways of telling and revising the story of the Genovese murder as one of bystander non-intervention in gender violence in the city, the essay conceptualizes film and filmic re-enactments as a mode of paying witness to the past.

scholarly journals Drones over Pompeii: cinematic perspectives on antiquity in the digital era

2019 ◽  
Vol 11 (3) ◽  
pp. 274-295 ◽  
Author(s):  
Joanna Paul
Keyword(s):  
First Century ◽  
Digital Cinema ◽  
Digital Mapping ◽  
The Past ◽  
Digital Era ◽  
Ancient City ◽  
Aerial View ◽  
Cinematic City ◽  
The City ◽  
Modern Perspective

Abstract Cityscapes have always been an important part of films set in antiquity, but little attention has yet been paid to the way in which digital cinema uses the ancient city to offer different kinds of access to the past. This article explores how twenty-first century cinema sees the city and apprehends history in new ways in films including Pompeii (2014), Agora (2009), and Gladiator (2000). It focuses on how digital cinema affords the opportunity to ‘see’ the past from above, a quintessentially modern perspective which prompts a range of important questions about the viewer’s relationship to history. The aerial view of the cinematic city encourages reflection on our familiarity with an ancient city, by utilizing the imagery and techniques of digital mapping and virtual reality reconstructions; and it explores our ability to gain mastery over the past, privileging godlike omniscience over the immersiveness that usually characterizes contemporary film. Finally, adopting the perspective of the drone, it suggests a more disturbing, dehumanized version of the past – and future. The discourse around these cinematic cities prompts important and timely consideration of whether digital technology necessarily improves our access to the past, or rather compromises it.

The City and the Moving Image: Urban Projections

Screen ◽  
2011 ◽  
Vol 52 (4) ◽  
pp. 544-546
Author(s):  
M. A. Velez-Serna
Keyword(s):  
Moving Image ◽  
The City

The Journey Narrative: Arrivals and Departures

2015 ◽  
Author(s):  
Malini Guha
Keyword(s):  
Urban Spaces ◽  
City Space ◽  
Cinematic City ◽  
The City

This chapter offers a wider applicability for the methods of reading for city space by positioning the journey narrative of the cinematic city as integral to the larger story of migrancy and the city. Narratives of migration have always been a feature of cinematic cities, as materialized through the depiction of the journey from the country to the city in films such as Sunrise (1927) or Berlin: Symphony of a City (1927). Since one of the key tropes of migrancy is mobility, narratives of arrivals and departures are just as significant for the purposes of analysis as those set within the space of the city. As such, movement both away and toward urban spaces can be theorized as part of the cinematic story of the migrant in the city.

Introduction

2015 ◽  
Author(s):  
Malini Guha
Keyword(s):  
Case Studies ◽  
Urban Space ◽  
Asylum Seekers ◽  
First Generation ◽  
Primary Case ◽  
City Space ◽  
Cinematic City ◽  
The City

This introductory chapter examines a configuration that brings together globalization, urban space and the cinema, taking a series of contemporary films set in London and Paris as primary case studies. What these films have in common are migrant mobilities of various types, ranging from asylum seekers and clandestine migrants, to the first generation of settled migrants as well as economic migrants. The chapter focuses on mobilities that reveal the contradictions of the globalizing process while also contesting a view of city space in these films as non-places. The analysis of these films also exhibits early scholarly trends on the cinematic city and its central preoccupation with European modernity, the city, and the cinema.

El uso del cine en la política indigenista mexicana: El cine del Instituto Nacional Indigenista (INI) de su primera etapa (1956‐70)

2020 ◽  
Vol 17 (2) ◽  
pp. 209-231 ◽  
Author(s):  
Claudia Arroyo Quiroz
Keyword(s):  
Indigenous People ◽  
Visual Rhetoric ◽  
Early Period ◽  
The Self ◽  
Moving Image ◽  
Mexican Cinema ◽  
Initial Stage ◽  
The Voice

This article studies the cinema produced by the National Indigenist Institute (INI) in its initial stage (1956‐70), to investigate how this institution used the moving image to promote its agendas. Through an analysis of the discursive and formal characteristics of the three films produced during that era (Nuevos horizontes, Arenas [1956] 2010; Todos somos mexicanos, Arenas [1958] 2008; and Misión de Chichimecas, López [1970] 2008), I show how an audio-visual rhetoric was configured in which the voice-over expresses the guidelines of the indigenista policy, but also opens up a space for the self-expression of the indigenous characters and for their languages. Likewise, I underline the specificity of the INI’s cinema during this early period in the wider context of Mexican cinema and in relation to different filmic representations of indigenous people.

‘The city in our hands’: urban management and contested modernity in nineteenth-century Belgrade

Urban History ◽  
2012 ◽  
Vol 40 (1) ◽  
pp. 32-50 ◽  
Author(s):  
MILOŠ JOVANOVIĆ
Keyword(s):  
Nineteenth Century ◽  
Urban Transformation ◽  
Urban Management ◽  
Urban Populations ◽  
Political Situation ◽  
Cultural Spaces ◽  
A Site ◽  
The City ◽  
Dynamic Interplay

ABSTRACT:This article examines the image of the city and notions of urban management in the discourse of elite groups in Belgrade between 1830 and the late 1860s. It focuses on the negotiation of modernity in heterogeneous cultural spaces, particularly looking at the textual interplay of power, orientalized exoticism and notions of backwardness. These discourses were integral to the processes of managing urban populations and homogenizing the cityscape. The city's specific political situation as a site of dual authority, however, left room for minor acts of contestation which questioned the primacy of exclusion and dispossession as bases for modern urban transformation. This dynamic interplay framed the city as a site of conflict between mutually defining forces of ‘Europeanization’ and ‘backwardness’.

Conclusion

2015 ◽  
Author(s):  
Malini Guha
Keyword(s):  
War On Terror ◽  
World Cinema ◽  
The World ◽  
Migratory History ◽  
History Of ◽  
Cinematic City ◽  
City Of London ◽  
The City

This concluding chapter considers the film London River (2009), which tells a specifically London-based story that addresses racialized forms of strife under the banner of “The War on Terror,” but also evokes traces of other cities and other histories. London River provides a comparative lens for thinking about the migratory history of Paris in relation to the racialized sentiments and subsequent politics affiliated with the city of London. The combination of the two results in an altered presentation of both “village” and “inhospitable” London and longstanding London imaginaries become global in their scope. The chapter ultimately develops parallel interrogations of what constitutes the “global” in the global cinematic city and “the world” in critical accounts of world cinema.

scholarly journals Deconstructing Indonesian film for Semarang’s city branding as a cinematic city

2018 ◽  
Vol 31 (1) ◽  
pp. 46
Author(s):  
Amida Yusriana ◽  
Mutia Rahmi ◽  
Mukaromah Mukaromah
Keyword(s):  
New Zealand ◽  
South Korea ◽  
City Branding ◽  
Lord Of The Rings ◽  
Brand Attributes ◽  
Cinematic City ◽  
The City

The Variety of Culture is the current city branding concept for Semarang City. It depicts the various cultures and ethnicities that live together in Semarang. However, this city branding is considered insufficient to meet the tourism target. This research aims to develop a new branding for Semarang as a Cinematic City. This concept is derived from the success of several cities which famous as shooting locations, for example Oxford in England, Seoul in South Korea, and New Zealand as the filming sites of The Lord of the Rings. The main aim of this research is to map out the potential locations for Semarang’s new branding as a Cinematic City. This research is conducted for three popular movies: Gie, Ayat-Ayat Cinta and Soekarno which those movies used Semarang City as the major filming sites. The result found there are three separated areas in Semarang that can be built as the main points of the city branding. Specifically located in the Old Town District there are Srigunting Park, State Financial Building, Cockfighting site, Berok Bridge, Blenduk Church, Jakarta Lloyd Building, and Berok River. In total, there are nine locations that can be developed as a tourism hub which served as a brand attributes of the effort to construct a Semarang as a Cinematic City. In conclusion, some areas have the potential to be developed into the object of city branding Semarang those are Kota LamaDistrict, Imam Bardjo Auditorium University of Diponegoro and Lawang Sewu Building.

Sign in / Sign up

Export Citation Format

Share Document