Edinburgh : Edinburgh University Press, [2014].
VIII, 246 p. : il.
/ EN / Libros / Cine / Cine – Decorados / Cine – Exteriores / Ciudades en el cine
📘 Ed. impresa: ISBN 9780748623846
Cita APA-7: Pratt, G., & San Juan, R. M. (2014). Film and urban space : critical possibilities. Edinburgh University Press.
ehuBiblioteka BCG A-791.43:72 FIL
https://ehu.on.worldcat.org/oclc/1127579613
[.en] This book traces the dynamic relationship between film and the city. How do film and urban space work together to challenge and forge our changing ideas of modern urban life? How does film intervene with what is erased or retained from the existing urban fabric? What are the possibilities and limits of contemporary utopic visions built into urban form? How does film itself work as a utopic space? How has the space of the cinema created a vibrant public space over the course of last century, and what is its future? These are some of the questions tackled in this book. Drawing on films as diverse as Man with a Movie Camera, Bicycle Thieves, Dogville, Safe, Los Angeles Plays Itself, Chungking Express and The Circle, the book identifies and analyses the major debates about the crucial historical relationship between film and the city to consider existing and future possibilities.
‘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 1929 ‘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. An insightful and thought-provoking read, Film and Urban Space: Critical Possibilities presents scholars and advanced students in Film Studies with a compelling argument for the impact of urban space in creating film’s critical political and ethical possibilities.
‘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 1929 ‘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. An insightful and thought-provoking read, Film and Urban Space: Critical Possibilities presents scholars and advanced students in Film Studies with a compelling argument for the impact of urban space in creating film’s critical political and ethical possibilities.
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