Relevant bibliographies by topics / Cinematic cities

Academic literature on the topic 'Cinematic cities'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Cinematic cities"

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Goldsmith, Ben. "Cinematic and televisual cities." Studies in Australasian Cinema 5, no. 3 (January 2012): 215–21. http://dx.doi.org/10.1386/sac.5.3.215_2.

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Korolkova, Maria. "Global Cinematic Cities: New Landscape of Film and Media." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 283–86. http://dx.doi.org/10.5195/cinej.2018.212.

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Viernes, Noah. "Cinematic Forms and the Assembly of Cities: Bangkok Inscribed." MANUSYA 11, no. 3 (2008): 13–31. http://dx.doi.org/10.1163/26659077-01103002.

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This article suggests that an aesthetics of contemporary urban life builds new avenues for treating the politics of visibility. Several reasons instigate this new approach. First, art forms illustrate and train a specific way of “seeing,” a camera consciousness, that correlates with changes in the built landscape. A specific configuration, in other words, presents a relationship (an analogy) between the contemporary predominance of urban images and urban subjects that elude preexisting categories. These aesthetic departures can be illustrated by literary and cinematic “sentence-images” within the project that Jacques Rancière (2004; 2006; 2007) calls the “redistribution of the sensible.” This paper's attempt to locate this redistribution according to the appearance of “the urban” in the literature of Prabda Yoon, Wanich Charungkichanant, Siriworn Kaewkan, Parinya Phiphathphorn, and two films by Apichatpong Weerasethakul, explains how Bangkok’s aesthetic landscape is produced by its material “visible” form.
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Paganopoulos, Michelangelo. "Imagined Cities of the World: From Expanded Cinema to Expanded Ethnography." Media Watch 13, no. 1 (January 2022): 9–33. http://dx.doi.org/10.1177/09760911221085836.

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By looking at ethnography as a multi-sited and evolving field in the tradition of George Marcus and Michael Fischer, the article returns to the cinematic concept of ‘expanded cinema’, focusing on current forms of expansion in audiovisual ethnographic representation (i.e., ‘expanded ethnography’). In doing so, it analyses the live cinematic performances of Supereverything* (The Light Surgeons, 2011–2017) and Invisible Cities (59 Productions, 2019) in terms of convergences, correspondences and intermedial staging, all of which dialectically synthesise the expanded field as it emerges from within the world system. The article deconstructs the aesthetical dialectics that produce the collective feeling of enlargement of the ethnographic field from a singular stage to a multiplicity of actors and stages (fields) via staged live interconnections made between intermedia technologies and social/bodily intersubjective relations, as they emerged via exploratory practices on and beyond the limits of the stage. By using sources deriving from cinematic theatre and philosophy, the article argues that the illusion of enlargement of the effigy of the world picture is techno/socially manufactured as part of the marketed media turn to imagination and subjectivity, with political consequences for ethnographic representation and its ‘expanded’ claim to a reality beyond the material history of the cosmopolis.
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Luna, Maria, and Philippe Meers. "The films of Ciro Guerra and the making of cosmopolitan spaces in Colombian cinema." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 126–42. http://dx.doi.org/10.33178/alpha.14.07.

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This article proposes to use the concept of “cosmopolitan cinematic margins” to analyse the paradoxical meeting of the cosmopolitan meaning and discourses of Ciro Guerra’s Colombian films and the spatial restrictions and immobility of the rural and remote places in which they are set. Such areas as seen on screen are usually interpreted by urban audiences as exotic locations, independently of their actual distance from cities. The article explores how films that, at first sight, show images of marginal and remote places like the Colombian Amazonian Jungle, when inserted into a global context—such as the hierarchical system of international film festivals—become symbols of cosmopolitan cinematic margins, and represent a country in the global spaces that legitimise the importance of that country’s film production. The cosmopolitan cinematic margins in the films of Guerra are then strategically situated in environments of global mobility and international prestige.
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Raidel, Ella. "A Pile Of Ghosts: A Cinematic Heterotopia of Spectral Urbanization." International Journal of Film and Media Arts 7, no. 1 (October 3, 2022): 11–26. http://dx.doi.org/10.24140/ijfma.v7.n1.01.

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A Pile of Ghosts (2021) is an artistic hybrid film in-between fiction and documentation created through the process of the art based research project Of Haunted Spaces. This research on Chinese ghost cities was a journey in exploring locations and looking for protagonists for the film, that would embody the urbanization processes surfaced as the phenomena of haunted cities by the spectral production of capitalism. As the process of filmmaking goes, settings and castings are staged to re-enact situations that have been observed during the field trips that were undertaken in many parts of China. The search for the unknown narrative keeps modifying and displacing the semantics of the film script. Therefore, in A Pile of Ghosts the line between documentary and fiction, a discursive space, is created in which facts, analyses and references are fused. This is not only to scrutinize the social reality and to render its discourse, but also to foster an aesthetic dimension from reexamining the convention of filmmaking and its representations. It is the method of a performative documentary to enact and re-enact situations and sites to reveal the contradictory characteristics of global urbanziation. The research process is transformed into the making of the film from field research to scriptwriting and casting. The protagonists are appearing in changing roles as construction workers, real estate agents, and investors to enact the realities of capitalism. On the threshold between the visible and the invisible, the haunting ghost of capitalism is materializing in the poiesis of the film, lurking in the limbo zone of fiction, reality and the performative.
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Hsiung, Yuwen. "Competing with Urban Verticality: Cinematic Landscapes in Seediq Bale and Beyond Beauty: Taiwan from Above." International Journal of Taiwan Studies 4, no. 1 (March 5, 2021): 33–53. http://dx.doi.org/10.1163/24688800-20201147.

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Abstract While buildings strive to reach higher and higher, cities are obsessed with a visible expression of verticality. Seediq Bale (2011) and Beyond Beauty: Taiwan from Above (2013) represent a new development in Taiwan’s cinematic use of landscape that challenges the dominance of urban verticalism. Seediq Bale sets up an alternative vertical dimension of mountainous areas that puts into dialogical relationship the dichotomies of civilised/barbarous, advanced/primitive, and vertical/horizontal. Audiences no longer experience space in a traditional manner, as eventually Mona Rudao’s graveyard is undiscovered/undefined. Beyond Beauty, on the other, asks viewers to ‘go higher’, encouraging a break with ordinary experience for a more spiritual quest like aerial shots. As both offer a sense of disorientation and alienation, what does the spatial metaphor address to aesthetics, ecocriticism, politics of identity, and sovereignty in geography? What are the implications as cinematic landscapes extend into a real-life environment that is ready to be consumed?
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Massood, Paula J. "Cinematic Urbanism: A History of the Modern from Reel to Real; and Cities and Cinema." Journal of the American Planning Association 76, no. 1 (December 31, 2009): 132–33. http://dx.doi.org/10.1080/01944360903412430.

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Danso, Augustine. "Reconstructing cinematic activities in the early twentieth century: Gold Coast (Ghana)." Journal of African Cinemas 13, no. 2 (December 1, 2021): 147–55. http://dx.doi.org/10.1386/jac_00051_1.

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In the history of African cinema, there is a nexus between films and the colonial imperial project. That is, products of cinema and cinematic practices shaped the process of colonialism in the specific case of Africa. Predicated largely on archival documents, this study explores how cinema was regulated in the major towns and cities in the Gold Coast during the colonial era. Ghanaian cinema has a considerably long historical narrative, however, much of what is known about the history of cinema in Ghana, particularly, on film screening, censorship and exhibition practices, is rather little. Thus, it is with this gap that this study attempts to fill and make a useful contribution to Ghanaian film history. The colonial experience set the basis for cinematic houses, film production, censorship, distribution and ideological concerns in African cinema. This study is framed within the relationship between cinema and history, with a specific focus on Ghana. This article concludes that while film exhibition, censorship and licensing stimulated the growth of art, particularly cinema, they further inflated the colonial imperial agenda in the Gold Coast.
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Yusriana, Amida, Mutia Rahmi, and Mukaromah Mukaromah. "Deconstructing Indonesian film for Semarang’s city branding as a cinematic city." Masyarakat, Kebudayaan dan Politik 31, no. 1 (March 28, 2018): 46. http://dx.doi.org/10.20473/mkp.v31i12018.46-61.

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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.
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Dissertations / Theses on the topic "Cinematic cities"

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Costa, Maria Helena Braga e. Vaz da. "Cities in motion : towards an understanding of the cinematic city." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326919.

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Villaescusa, Illán Irene. "Hybrid cities: cinematic representations of space, culture and history in Hong Kong and Santiago de Chile." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48539818.

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The aim of this paper is to do a cross-cultural study between the cities of Santiago de Chile and Hong Kong analyzing the representation of urban areas in two films: the Chilean film Machuca (2003) by Andrés Wood and the Chinese film Little Cheung (1999) by Hong Kong director Fruit Chan. Occasional reference to other cinematic examples will be relevant to understand the filmmakers’ work, the historical background as well as the choice of themes and modes of representation. Néstor García Canclini´s theories on hybrid cultures, urban imaginaries and post-colonial modernity in Latin America will form the main framework from which to analyze the particularities of both cities and their relevance in the formation of culture, history and identity. The colonial legacy and the historical context of Hong Kong and Chile at the time of the film’s settings make them interesting subjects for comparison in light of the above theories. This study aims to argue two hypotheses: first, in what ways can we think of Hong Kong and Santiago as examples of hybrid cities, what are the historical, social and cultural processes that have led to such state of hybridity and what are the implications of understanding the city as a hybrid space; and second, how art (cinema) and the media deal with cultural and historical issues of identity and belonging in order to contribute to the construction of individual and public memory in urban communities.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Zou, Hongyan. "Western China on Screen: Cinema and Urban Exploration as Thirdspace." Thesis, 2018. http://hdl.handle.net/2440/120347.

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This thesis examines how films located in western China have represented cities since the 1980s by drawing on spatial theories first proposed by Henri Lefebvre and further developed in Edward Soja’s Thirdspace theory. This thesis is the first comprehensive academic contribution to deal with the affinity between cinema and the cities of western China. By focusing on the cinematic representation of these cities, this thesis breaks the long-standing stereotypes of the region established in the ethnographic films of China’s Fifth Generation directors. It illustrates how cinematic cities in the region appear as enclosed spaces of traditional cultural values, political inertia and capsules of socialist China. This then problematises the glamourised images of the post-socialist, technocratic metropolises of Beijing and Shanghai. Meanwhile, the cinematic cities of China’s west demonstrate that the cities and their inhabitants are open to transformation under discourses of urbanisation and modernisation. This thesis provides insights into the ways that films set in western China reflect the political and ideological power imposed on urban development and the lives of the people in the region. Perceiving cinematic western China as Thirdspace illustrates how the uneven social and economic development of contemporary western China is spatially represented in films. It also shows how cinematic western China becomes a space of resistance in the binary opposition of China’s developing west versus its developed east. Looking into the everyday city spaces inhabited by ordinary citizens and subaltern groups, this thesis adds an alternative urban image—the cinematic Thirdspace of contemporary western China.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2018
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Books on the topic "Cinematic cities"

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1964-, Clarke David B., ed. The cinematic city. London: Routledge, 1997.

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Cine-scapes: Cinematic spaces in architecture and cities. New York: Routledge, 2012.

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Metro movies: Cinematic urbanism in post-Mao China. Carbondale: Southern Illinois University Press, 2010.

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Albuquerque, Paula. The Webcam as an Emerging Cinematic Medium. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985582.

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All the world’s a stage - literally so, given the ubiquitous presence of webcams recording daily life in cities. This footage, allegedly documentary, recreates cities as cinematic environments as people interact with the multitudes of cameras and screens around them. Paula Albuquerque’s original research and experimental films, presented in this groundbreaking book, expose fictionalising elements in archival webcams and explore video surveillance as an urban condition that influences both perceptions of the past and visions of the future.
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Andersson, Johan, and Lawrence Webb, eds. Global Cinematic Cities. Columbia University Press, 2016. http://dx.doi.org/10.7312/ande17746.

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David, Clarke. Cinematic City. Taylor & Francis Group, 2005.

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David, Clarke. Cinematic City. Taylor & Francis Group, 2005.

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David, Clarke. Cinematic City. Taylor & Francis Group, 2005.

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HD Guarda Spider-Man: No Way Home In Linea Completo for Gratuit. Cine-Scapes: Cinematic Spaces in Architecture and Cities. Taylor & Francis Group, 2012.

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HD Guarda Spider-Man: No Way Home In Linea Completo for Gratuit. Cine-Scapes: Cinematic Spaces in Architecture and Cities. Taylor & Francis Group, 2012.

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Book chapters on the topic "Cinematic cities"

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Lo, Louis. "Tsai Ming-liang’s Cinematic Cities: The River (1997) and Stray Dogs (2013)." In The Palgrave Encyclopedia of Urban Literary Studies, 1–8. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-62592-8_339-1.

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Lo, Louis. "Tsai Ming-liang’s Cinematic Cities: The River (1997) and Stray Dogs (2013)." In The Palgrave Encyclopedia of Urban Literary Studies, 1806–13. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-62419-8_339.

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Lo, Louis. "A Cinematic Guide to Asian Cities: Taipei, Seoul, and the Cinema of Destruction." In The Palgrave Handbook of Literature and the City, 661–72. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54911-2_42.

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Buchanan, Judith, and Alex Newhouse. "Sanguine Mirages, Cinematic Dreams: Things Seen and Things Imagined in the 1917 Fox Feature Film A Tale of Two Cities." In Charles Dickens, A Tale of Two Cities and the French Revolution, 146–65. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230273894_9.

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"Notes on Contributors." In Global Cinematic Cities, vii—x. Columbia University Press, 2016. http://dx.doi.org/10.7312/ande17746-001.

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"Introduction: Decentring the Cinematic City – Film and Media in the Digital Age." In Global Cinematic Cities, 1–16. Columbia University Press, 2016. http://dx.doi.org/10.7312/ande17746-002.

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"In the City but Not Bounded by It: Cinema in the Global, the Generic and the Cluster City." In Global Cinematic Cities, 19–35. Columbia University Press, 2016. http://dx.doi.org/10.7312/ande17746-003.

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"Traversing the Øresund: the Transnational Urban Region in Bron/Broen." In Global Cinematic Cities, 36–58. Columbia University Press, 2016. http://dx.doi.org/10.7312/ande17746-004.

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"Neoliberalism, Nollywood and Lagos." In Global Cinematic Cities, 59–76. Columbia University Press, 2016. http://dx.doi.org/10.7312/ande17746-005.

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"New Urban and Media Ecologies in Contemporary Buenos Aires." In Global Cinematic Cities, 79–94. Columbia University Press, 2016. http://dx.doi.org/10.7312/ande17746-006.

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Conference papers on the topic "Cinematic cities"

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Leković, Milica. "Urbanismo del miedo y representacion distópica de las ciudades." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6143.

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El presente artículo explora como se reflejaba el miedo en la cultura popular y como influía en el planeamiento urbano a lo largo de la historia contemporánea. Mediante el análisis de los imaginarios urbanos a lo largo de los siglos XX y XXI, intentaremos averiguar cómo el planteamiento urbano se ha visto afectado por los miedos sobre un futuro incierto y apocalíptico. A través de un acercamiento teórico-conceptual e histórico-formal, abarcaremos algunos sujetos que comparten el planeamiento urbanístico y las representaciones cinematográficas de la ciudad: el modernismo, el paradigma campo-ciudad, antiurbanismo, la fragmentación y segregación espacial, la remodelación urbana y, por último, resiliencia y smart cities. This article explores how fear is reflected in popular culture and the ways it influenced urban planning throughout modern history. By analysing the urban imaginary throughout the XX and XXI centuries, we will try to find out how has urban planning been affected by fears of uncertain and apocalyptic future. Using theoretical-conceptual and historical-formal approaches, we will cover some topics that urban planning and cinematic representations of the city have in common, such as modernism, urban-rural paradigm, anti-urbanism, fragmentation and spatial segregation, urban renewal and finally, resilient and smart cities.
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M. Ali Jabara, Kawthar. "The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.

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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.
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