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Books on the topic 'Cinematic cities'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

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

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2

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

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3

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

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4

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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5

Andersson, Johan, and Lawrence Webb, eds. Global Cinematic Cities. Columbia University Press, 2016. http://dx.doi.org/10.7312/ande17746.

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6

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

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7

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

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8

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

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9

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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10

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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11

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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12

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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13

Webb, Lawrence, and Johan Andersson. Global Cinematic Cities: New Landscapes of Film and Media. Columbia University Press, 2016.

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14

Webb, Lawrence, and Johan Andersson. Global Cinematic Cities: New Landscapes of Film and Media. Columbia University Press, 2016.

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15

Global Cinematic Cities - New Landscapes of Film and Media. Columbia University Press, 2016.

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16

Maria Helena Braga e Vaz Da Costa. Cities in motion: Towards an understanding of the cinematic city. 2001.

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17

Cinematic Urbanism: A History of the Modern from Reel to Real. Routledge, 2006.

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18

AlSayyad, Nezar. Cinematic Urbanism: A History of the Modern from Reel to Real. Taylor & Francis Group, 2006.

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19

Paunksnis, Šarūnas. Dark Fear, Eerie Cities. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199493180.001.0001.

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What haunts the city? Why is there so much pessimism in our urban lives? How does this physical and psychological insecurity of relentless competition and a desire to succeed against all odds proliferate into cinema? Dark Fear, Eerie Cities analyses a wide array of films made in the early 21st century to offer a philosophical and psychoanalytical critique of the transforming cinematic imagery. It traces the trajectory of Hindi cinema from the pre-1990s feudal family ideal to the contemporary construction of the new middle class’s subjectivities against a postcolonial backdrop. Keeping in mind the effects of globalization, market liberalization and the emergence of new forms of media and their consumption, the book provides a theoretical perspective to cinematic transformations. Paunksnis presents an interdisciplinary study of a genre of cinema in which crime thrillers and horror films are aimed at answering some of the fundamental questions of our contemporary times.

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20

Movies, Turner Classic, and Christian Blauvelt. Turner Classic Movies Cinematic Cities : New York: The Big Apple on the Big Screen. Running Press, 2019.

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21

Blauvelt, Christian. Turner Classic Movies Cinematic Cities : New York: The Big Apple on the Big Screen. Running Press, 2019.

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22

Zou, Hongyan. Western China on Screen. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474477857.001.0001.

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This book examines how films set in western China have represented cities since the 1980s by drawing on spatial theories first proposed by Henry Lefebvre and further developed in Edward Soja’s Thirdspace theory. Focusing on the cinematic representation of urban centres located in western China, this book breaks the long-standing stereotypes of the region established in the ethnographic films of China’s Fifth Generation filmmakers. The twelve films examined in this book record and represent a dynamic space transforming from enclosed spaces of production, traditional values, political inertia and socialist capsules to heterogeneous spaces of consumption, modern practices, national power and disappearance under the discourses of urbanisation and modernisation. This spatial transformation of western China diversifies the glamourised images of the post-socialist, technocratic metropolises of Beijing and Shanghai. Analysing the real and imagined spaces represented in and by the films, this book advances the current research on China’s urban cinema by orchestrating space, class, gender, post-colonialism and post-socialism in discussion. It concludes that cinematic western China acts as a space of resistance that reflects the political and ideological power imposed on urban development and lives of the residents in the region; This space of resistance also breaks down such dichotomies as China’s developing west-developed east, countryside-city, tradition-modernity and submission-domination by preserving and presenting multi-layered realities in contemporary western China.

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23

Urban Cinematics: Understanding Urban Phenomena through the Moving Image. Intellect Ltd, 2011.

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24

Escolar, Marisa. Allied Encounters. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284504.001.0001.

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Allied Encounters: The Gendered Redemption of World War II Italy is the first-ever monograph to analyze cultural representations of Allied-occupied Italy, one of the war’s most unstable spaces. While the U.S. military viewed itself as a redemptive force, competing narratives emerged in the Italian imaginary. Both national paradigms, however, are deeply entangled with the gendering of redemption long operative in Anglo-American and Italian discourse, emerging from a Dantean topos that depicts Italy as a whore in need of redemption. Tracing the formation of these gendered paradigms and pointing to their intersection with sexualized and racialized identities, this book examines literary, cinematic, and military representations of the soldier-civilian encounter, by Anglo-Americans and Italians, set in two major occupied cities, Naples and Rome. Informed by the historical context as well as their respective representational traditions, these texts—produced during and in the immediate aftermath—become more than mirrors of the intercultural encounter or generic allegories about U.S.–Italian relations. Instead, they are sites in which to explore other repressed traumas—including the Holocaust, the American Civil War, and European colonialism, as well as individual traumatic events like the massacre of the Fosse Ardeatine and the mass civilian rape near Rome by colonial soldiers— that inform how the occupation unfolded and is remembered. In addition to challenging canonical interpretations of emblematic texts, this book introduces several little-known diaries, novels, and guidebooks.

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25

Lee, Sangjoon. Cinema and the Cultural Cold War. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.001.0001.

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This book explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. The book adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. The book reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. The book elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. The book demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. This book reanimates this almost-forgotten history of cinema and the film industry in Asia.

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26

Hudson, Dale. “Making” Americans from Foreigners. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0003.

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Although conventional studies look to the earliest surviving vampire film, Prana-Films’ Nosferatu (1922) as source for visual codes and narrative conventions in Hollywood vampire media, this chapter locates them in segregation comedies, immigration romances, and miscegenation melodramas. These films establish conventions that facilitate or inhibit foreigners being americanized. Since citizenship for women was derivative from fathers or husbands, foreign women were considered less threatening. Consequently, male immigrants in Edison Company shorts (1895–1896), industrial and state recruitment films, and commercial entertainments, such as Alice Guy-Blaché’s Making an American Citizen (1912), Cecil B. DeMille’s The Cheat (1915), D.W. Griffith’s Broken Blossoms (1919), and George Melford’s The Sheik (1921), serve as cinematic prototypes for classical Hollywood’s vampires. Within these narratives of americanizing foreigners, the afterlives of race emerge in relation to sex and nativity around issues of universal citizenship and sovereign territory.

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27

Vernallis, Carol, Amy Herzog, and John Richardson, eds. The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199757640.001.0001.

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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generic anomalies by citing examples such as the Silent Hill videogame series, the performance/installation Sleep No More, and the poetics of David Lynch’s Inland Empire. In addition, the book discusses the translation of information into digital media, how music has both shaped and become embedded within the aesthetic culture of political conflict, the nature of “realism” in relation to new audiovisual media networks, and the accelerated aesthetics of networked mediascape and the ways in which they may be connected to contemporary labor and global capitalism.

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