Film and Urban Space: Critical Possibilities
xuño de 2014 · Edinburgh University Press
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Film and Urban Space: Critical Possibilities traces recurring debates about what constitutes film's political potential and argues that the relation between film and urban space has been crucial to these debates and their historical transformations. The book demonstrates that in the attempt to follow certain prescriptions shooting on location, disrupting normalizing time, experimenting with memory, interlinking the spaces of screen and cinema films invariably use the relation between film and urban space as a kind of laboratory, testing anew received prescriptions but invariably encountering new opportunities and new limits. A wide range of key films, from Dziga Vertov's 1928 Man with a Movie Camera to Jia Zhangke's 2008 24 City, are discussed in depth, each offering an argument for how the encounter between specific manifestations of modern urban space and politically engaged film strategies has served to challenge the status quo and stimulate critical thinking.
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Geraldine Pratt is Professor of Geography at the University of British Columbia. She is author of Working Feminism and Families Apart: Migrant Mothers and the Conflicts of Labor and Love, co-author of Gender, Work and Space, and co-editor of The Global and the Intimate: Feminism in Our Time and the 4th and 5th editions of the Dictionary of Human Geography. She co-authored with Caleb Johnston Nanay: a testimonial play, which has been performed in Vancouver, Berlin and Manila.
Rose Marie San Juan teaches and writes on early modern Italian art and culture and the relation between urban space and visual technologies. Before moving to University College London in 2005, she was at the University of British Columbia. Her publications include Rome: a city out of print (2001), on the role of print culture within urban change; and Vertiginous Mirrors: The animation of the visual image and early modern travel (2011), on the journeys of images from Europe to India, Brazil and Chile.
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