LA ,CIUDAD:

MAGENES E

MAGINARIOS

CONGRESO INTERNACIONAL INTERDISCIPLINAR,

DE LA FACULTAD, DE HUMANIDADES, COMUNICACION Y

DOCUMENTACION DE LA UNIVERSIDAD CARLOS 111 DE MADRID

DEL 12 AL 15 DE MARZO DE 2018

LIBRO DE ACTAS

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

LA CIUDAD: IMÁGENES E IMAGINARIOS

Actas del Congreso Internacional Interdisciplinar La ciudad: imágenes e imaginarios

Facultad de Humanidades, Comunicación y Documentación

Universidad Carlos III de Madrid

12-15 de marzo de 2018

Editores: Ana Mejón David Conte Imbert Farshad Zahedi

Universidad Carlos III de Madrid, 2019

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

ÍNDICE

COMITÉ CIENTÍFICO Y DE ORGANIZACIÓN ...... 11 PREÁMBULO ...... 12

Espacio urbano LA GESTIÓN DEL PATRIMONIO URBANO. EL CENTRO HISTÓRICO DE SANTA CRUZ DE TENERIFE: ARQUITECTURA Y LENGUAJE ...... 18

SEVERO ACOSTA RODRÍGUEZ FÁTIMA ACOSTA HERNÁNDEZ ÁNGELES TUDELA NOGUERA (UNIVERSIDAD DE LA LAGUNA) OLVIDO Y MEMORIA EN LA ÉPOCA DE MERCANTILIZACIÓN DE LA CIUDAD ...... 29

ALBA BARO VAQUERO (UNIVERSIDAD AUTÓNOMA DE MADRID) WOMEN AND URBAN MOBILITY: THE IMPORTANCE OF RECOGNIZING GENDER DIFFERENCES IN URBAN PLANNING ...... 37

LUA BITTENCOURT (UNIVERSIDADE DE LISBOA) RE-SIGNIFICAR EL ESPACIO URBANO: ANÁLISIS SEMIÓTICO EN TRES TIEMPOS DEL ÁREA DE LA EXPOSICIÓN IBEROAMERICANA DE 1929 EN SEVILLA ...... 44

MANUEL A. BROULLÓN-LOZANO (UNIVERSIDAD DE SEVILLA) ISTANBUL: BRIDGE BETWEEN WEST AND EAST ...... 55

SINEJAN BUCHINA (THE CITY COLLEGE OF NEW YORK) MAPA Y TIEMPO DE LOS ESPACIOS ESCÉNICOS DE MADRID ...... 66

FELISA DE BLAS GÓMEZ (REAL ESCUELA SUPERIOR DE ARTE DRAMÁTICO DE MADRID –RESAD- Y UNIVERSIDAD POLITÉCNICA DE MADRID) ALMUDENA LÓPEZ VILLALBA (REAL ESCUELA SUPERIOR DE ARTE DRAMÁTICO DE MADRID –RESAD-) CARLOS VILLARREAL COLUNGA (UNIVERSIDAD POLITÉCNICA DE MADRID) LA BAHÍA DE PASAIA COMO PAISAJE CULTURAL URBANO ...... 77

ENRIQUE DE ROSA GIOLITO (UNIVERSIDAD NACIONAL DE EDUCACIÓN A DISTANCIA –UNED-) LA TRANSFORMACIÓN DE SEÚL A TRAVÉS DE LAS INDUSTRIAS CULTURALES SURCOREANAS: EL CASO DE LA OLA HALLYU ...... 91

SONIA DUEÑAS MOHEDAS (UNIVERSIDAD CARLOS III DE MADRID)

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

MELILLA: DE FORTALEZA A CIUDAD ...... 101

FERNANDO SARUEL HERNÁNDEZ (UNIVERSIDAD DE MÁLAGA) LA GESTIÓN DE LA CONFLICTIVIDAD URBANA. LA CIENCIA DE POLICÍA Y LOS ORÍGENES DEL URBANISMO ...... 113

PEDRO FRAILE (UNIVERSIDAD DE LLEIDA) LA ARQUITECTURA EN LA CIUDAD ...... 123

EDUARDO MIGUEL GONZÁLEZ FRAILE (UNIVERSIDAD DE VALLADOLID) SANTIAGO BELLIDO BLANCO (UNIVERSIDAD EUROPEA MIGUEL DE CERVANTES) DAVID VILLANUEVA VALENTÍN-GAMAZO (UNIVERSIDAD EUROPEA MIGUEL DE CERVANTES) ARQUITECTURA VERTICAL. SIMBOLISMO Y CONGESTIÓN EN LA CIUDAD CONTEMPORÁNEA ...... 135

AGUSTÍN GOR GÓMEZ (UNIVERSIDAD DE GRANADA) THE TRANSFORMATION OF ISTANBUL AND CULTURAL EFFECTS ...... 150

JANET BARIŞ (NISANTASI UNIVERSITY) RE-IMAGINING THE URBAN EXPERIENCE IN THE GLOBAL ERA ...... 160

ANNA LAZZARINI (UNIVERSITY OF BERGAMO) EL EQUILIBRIO ENTRE PASADO, PRESENTE Y FUTURO EN UNA CIUDAD CHINA: CHENGDU Y EL EJEMPLO DE SINO-OCEAN TAIKOO LI ...... 169

LIAO SHUQI (UNIVERSIDAD DE CARLOS III DE MADRID) 1939/ 1959 MADRID EN EL CINE, CÓMO UNA COMEDIA SENTIMENTAL SOLAPA PROPAGANDA ...... 178

MARGUERITE AZCONA (SORBONNE UNIVERSITÉ) EL GÉNERO MUSICAL COMO DISCURSO PARA LA REPRESENTACIÓN Y LA PROMOCIÓN DE LA CIUDAD. EL CASO DE SUNSHINE ON LEITH ...... 183

VICTORIA LÓPEZ ÁLAMO (UNIVERSIDAD DE MURCIA) SALVADOR MARTÍNEZ PUCHE (UNIVERSIDAD DE MURCIA) ANTONIO MARTÍNEZ PUCHE (UNIVERSIDAD DE ALICANTE) LA FLÂNEUSE IMPOSIBLE: EL ACTO DE CALLEJEAR DESDE UNA LECTURA FEMINISTA ...... 194

VICTORIA MATEOS DE MANUEL (INSTITUTO DE FILOSOFÍA, CCHS-CSIC)

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

VALPARAÍSO Y LOS DESAFÍOS DE UNA CIUDAD CONSTRUIDA SOBRE UNA GEOGRAFÍA ABRUPTA. EL CAMINO CINTURA COMO LA OPERACIÓN URBANA QUE ARTICULÓ LA EXPANSIÓN DE LA CIUDAD SOBRE LOS CERROS ...... 203

MELISA MIRANDA (EDINBURGH UNIVERSITY) LA RECONSTRUCCIÓN DE LA IMAGEN DE BERLÍN TRAS LA REUNIFICACIÓN ALEMANA ...... 211

MARÍA DOLORES MONTORO RODRÍGUEZ. (UNIVERSIDAD POLITÉCNICA DE MADRID) LA RELACIÓN ENTRE PAISAJE Y URBANISMO EN LA CIUDAD MODERNA: EL EJEMPLO DE SANTANDER ...... 224

MARÍA JESÚS POZAS POZAS (UNIVERSIDAD DE DEUSTO – BILBAO) LUGARES PARA LA PROMOCIÓN DE LA SALUD Y DE LA HIGIENE EN EL MADRID DE LOS AÑOS 30 EN LA REVISTA CULTURA INTEGRAL Y FEMENINA (1933-1936) ...... 238

IVANA ROTA (UNIVERSITÀ DEGLI STUDI DI BERGAMO) IMAGINARIOS TURÍSTICOS Y RENOVACIÓN URBANA: EL CASO DEL BARRIO DE SANTA CRUZ EN LA SEVILLA DEL SIGLO XX ...... 248

PAULA SAAVEDRA TRIGUEROS JACOBO GARCÍA ÁLVAREZ (UNIVERSIDAD CARLOS III DE MADRID) PROCESOS, PERMANENCIAS Y TRANSFORMACIONES EN LOS PAISAJES URBANOS BONAERENSES. EXPLORACIÓN HISTÓRICO-VISUAL EN LAS CIUDADES DE MAR DEL PLATA, TANDIL Y NECOCHEA- QUEQUÉN, ARGENTINA ...... 257

LORENA MARINA SÁNCHEZ GISELA PAOLA KACZAN (UNIVERSIDAD NACIONAL DE MAR DEL PLATA) LA CONSTRUCCIÓN DEL PAISAJE CULTURAL DE LA RÍA DEL NERVIÓN, EL LEGADO HISTÓRICO DE LOS FERROCARRILES MINEROS ...... 267

ANA SCHMIDT SERRANO (UNIVERSIDAD DE EDUCACIÓN A DISTANCIA –UNED-) EN LA VÍSPERA DEL ESPLENDOR: EL WASHINGTON CITY DE MARGARET BAYARD ...... 277

MONTSERRAT HUGUET (UNIVERSIDAD CARLOS III DE MADRID) DE “LA BANLIEUE” AL “GRAND PARIS”, LA BÚSQUEDA DE UNA NUEVA IMAGEN PARA LA EXTENSIÓN DE PARÍS ...... 288

PILAR AUMENTE RIVAS (UNIVERSIDAD COMPLUTENSE DE MADRID) LOS GRAFITIS EN MURCIA. DE LA ILEGALIDAD A LA OFICIALIDAD. ESTADO DE LA CUESTIÓN ...... 310

VICTORIA SANTIAGO GODOS (UNIVERSIDAD DE MURCIA)

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

Experiencia ciudadana PROYECTO 00000000X. LA CIUDAD COMO SOPORTE PARA UN ARTE CRÍTICO ...... 322

MARÍA ANDRÉS SANZ (UNIVERSIDAD DEL PAÍS VASCO) WOMEN AND PUBLIC SPACE: THE URBAN FEMALE IN LISBON ...... 332

BRUNA BORELLI (UNIVERSITY OF LISBON) RELACIONES CIUDADANAS, GUBERNAMENTALIDAD LIBERAL Y UTOPÍA COOPERATIVISTA. EL PROYECTO DE ELÍAS ZEROLO EN SANTA CRUZ DE TENERIFE (1868-1870) ...... 343

JESÚS DE FELIPE (UNIVERSIDAD AUTÓNOMA DE MADRID) JOSUÉ J. GONZÁLEZ (UNIVERSIDAD DE LA LAGUNA) ESPACIOS HORTÍCOLAS CIUDADANOS, REDES E INFRAESTRUCTURAS AMBIENTALES COMO FACTORES DE RESILIENCIA URBANA ...... 352

SONIA DELGADO BERROCAL (UNIVERSIDAD POLITÉCNICA DE MADRID) DISCOURSE AND THE CONSTRUCTION OF ‘OTHERNESS’ IN PUBLIC URBAN ‘SPACES OF FEAR’ – AN INTERSECTIONAL FEMINIST APPROACH ...... 362

SONJA GAEDICKE (RWTH AACHEN UNIVERSITY) ANÁLISIS DEL CASO DEL DISTRITO CULTURAL LEICESTER´S CULTURAL QUARTER ...... 371

JENNIFER GARCÍA CARRIZO (UNIVERSIDAD COMPLUTENSE DE MADRID) SMART CITY COMO NUEVA ESTRATEGIA DE MARCA CIUDAD. UNA APROXIMACIÓN DEL SMART CITY BRANDING EN EL CASO ESPAÑOL...... 383

NOELIA GARCÍA-ESTÉVEZ (UNIVERSIDAD DE SEVILLA) VOLUNTARIADO SOCIAL, GESTIÓN DE LA COMUNICACIÓN Y RESPONSABILIDAD SOCIAL HOSPITALARIA EN ESPAÑA ...... 395

Mª TERESA GARCÍA NIETO FRANCISCO CABEZUELO (UNIVERSIDAD COMPLUTENSE DE MADRID) TRIESTE, ANTES Y DESPUÉS DE LA REVOLUCIÓN PSIQUIÁTRICA ...... 408

ANA MARTÍNEZ PÉREZ-CANALES (UNIVERSIDAD CARLOS III DE MADRID) UNA EXPERIENCIA URBANÍSTICA DESDE: LA PARTICIPACIÓN, LA FORMACIÓN Y LA SORORIDAD EN LA CIUDAD DE MANACOR (ISLAS BALEARES) ...... 417

ANTONIA MATAMALAS PROHENS (INVESTIGADORA INDEPENDIENTE)

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

LA TIPOGRAFÍA EN LA CIUDAD, VEHÍCULO EMOCIONAL Y VASO COMUNICANTE ENTRE DOS TIEMPOS HISTÓRICOS DISTINTOS. UN ESTUDIO DE CASO: LA IDENTIDAD VISUAL CORPORATIVA DEL ESTADIO METROPOLITANO ...... 423

JUAN PEDRO MOLINA CAÑABATE (UNIVERSIDAD CARLOS III DE MADRID) MUJERES Y PARADOJAS DE LA CIUDADANÍA CONTEMPORÁNEA ...... 431

LAURA BRANCIFORTE (UNIVERSIDAD CARLOS III DE MADRID) ¿UN CIUDADANO, UN FLÂNEUR O UN VISITANTE? LA CIUDAD COMO MUSEO DE LO COTIDIANO ..... 440

CANDELA RAJAL ALONSO (UNIVERSIDAD DE SANTIAGO DE COMPOSTELA) ESTELLA FREIRE PÉREZ (UNIVERSIDAD DE SANTIAGO DE COMPOSTELA) LONDRES – VIENA. LA CONSTRUCCIÓN DE LA IDENTIDAD MEDIANTE UN PASEO CON VIRGINIA WOOLF E INGEBORG BACHMANN ...... 454

VERÓNICA RIPOLL LEÓN (UNIVERSIDAD CARLOS III DE MADRID) ATLAS ARTEDUCATIVO: LA CIUDAD DESPLEGADA ...... 462

CRISTINA TRIGO MARTÍNEZ (UNIVERSIDAD DE SANTIAGO DE COMPOSTELA)

Representaciones REPRESENTACIONES DE SANTIAGO DE COMPOSTELA EN LA LITERATURA INFANTIL GALLEGA DEL SIGLO XXI. UN CAMINO DE LECTURAS TEXTUALES Y VISUALES ...... 478

EULALIA AGRELO COSTAS (UNIVERSIDADE DE VIGO) OLALLA CORTIZAS VARELA (UNIVERSIDADE DE SANTIAGO DE COMPOSTELA) “I’M JUST TRYING TO MAKE MY CITY A BETTER PLACE” SOCIAL ISSUES, SUPERPOWERS, AND NEW YORK CITY IN NETFLIX’S 2015-2017 MARVEL SERIES FRANCHISE ...... 486

OCTÁVIO A. R. SCHUENCK AMORELLI R. P. PEDRO AFONSO BRANCO RAMOS PINTO (UNIVERSIDADE DE BRASÍLIA) VIRTUAL REALITY AND READING CITIES: GPS-BASED APPLICATIONS AS A NEW FORM OF LITERARY TOURISM ...... 495

ANA STEFANOVSKA (UNIVERSITÀ DI PADOVA) VISIONES URBANAS EN LA OBRA ARTÍSTICA DE CHEMA ALVARGONZÁLEZ ...... 503

MARÍA DOLORES ARROYO FERNÁNDEZ (UNIVERSIDAD COMPLUTENSE DE MADRID)

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

LA CASA DEL HABITANTE QUE SE NEGÓ A PARTICIPAR Y LA MASQUE. UNA PROPUESTA DEL ARQUITECTO JOHN HEJDUK PARA LA CIUDAD ...... 515

CARLOS BARBERÁ PASTOR (UNIVERSIDAD DE ALICANTE) PLÁSTICA Y TECNOLOGÍA COMO OBSERVATORIOS DE LA CIUDAD ...... 526

ALBA CORTÉS-GARCÍA (UNIVERSIDAD DE SEVILLA) RE-PRESENTAR LA CIUDAD. URBAN RE-IDENTIFICATION GRID. APROXIMACIONES AL ESPACIO COMO ACONTECIMIENTO ...... 535

FELIPE CORVALÁN TAPIA (UNIVERSIDAD DE CHILE) LA CIUDAD ES UN MONTE ...... 546

ARTURO ENCINAS CANTALAPIEDRA (UNIVERSIDAD FRANCISCO DE VITORIA) LA CIUDAD REHABITADA...... 565

FELIPE SAMARÁN SALÓ (UNIVERSIDAD FRANCISCO DE VITORIA) DE SUR A NORTE, DE NORTE A SUR: ORÁN Y MONTPELLIER EN LA OBRA DE MALIKA MOKEDDEM .... 577

M. CARME FIGUEROLA (UNIVERSITAT DE LLEIDA) LAS UTTERANCES URBANAS A TRAVÉS DE LA FOTOGRAFÍA ...... 585

MAR GARCÍA RANEDO UNIVERSIDAD DE SEVILLA LA CIUDAD EN LOS FILMS TARDOFRANQUISTAS DE PACO MARTÍNEZ SORIA (1965-1975) ...... 597

OLGA GARCÍA-DEFEZ (UNIVERSITAT DE VALÈNCIA) LA PINTURA CONTEMPORÁNEA Y LA INTERPRETACIÓN PSICOGEOGRÁFICA DE LA CIUDAD COMO TRADUCCIÓN ESTÉTICA DE UNA ORGANIZACIÓN COMPLEJA ...... 606

RICARDO GONZÁLEZ GARCÍA (UNIVERSIDAD DE CANTABRIA) EN CONSTRUCCIÓN DE JOSÉ LUIS GUERÍN: LUGARES DE MEMORIA Y MEMORIA DE LOS LUGARES .... 617

SABRINA GRILLO (UNIVERSIDAD DE ARTOIS) A RE-VIEWING POSSIBILITY: NEW ENCOUNTERS WITH/IN ISTANBUL IN THE CINEMA OF TURKEY ..... 624

DR. ÖZLEM GÜÇLÜ (MIMAR SINAN FINE ARTS UNIVERSITY) EL ESPACIO URBANO DE TOLEDO EN LA NOVELA ACTUAL: MAZAPÁN AMARGO (2011) Y LA ÚLTIMA SOMBRA DEL GRECO (2013), LA SERIE NEGRA DE JOAQUÍN GARCÍA GARIJO Y SANTIAGO SASTRE ARIZA ...... 631

JESÚS GUZMÁN MORA (INVESTIGADOR INDEPENDIENTE)

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

LA CIUDAD EN EL CINE NEGRO ESPAÑOL. ESPAÑA, CARNE DE THRILLER DESDE LOS AÑOS OCHENTA 639

EZEQUIEL HERRERA GIL (UNIVERSIDAD DE LA LAGUNA) HONG KONG ANTE LA MIRADA DE EILEEN CHANG: LA CIUDAD QUE PERDIÓ LA IDENTIDAD ...... 647

LINLIN JIANG (UNIVERSIDAD COMPLUTENSE DE MADRID) EL ESCUCHARIO URBANO ...... 654

ALMA DELIA JUÁREZ SEDANO (UNIVERSIDAD AUTÓNOMA METROPOLITANA) MIGUEL ÁNGEL GONZÁLEZ LOZA (UNIVERSIDAD AUTÓNOMA METROPOLITANA) ELIZABETH LOZADA AMADOR (UNIVERSIDAD AUTÓNOMA DEL ESTADO DE HIDALGO) WRITING CHICANO LOS ANGELES: GEOCRITICISM OF LOS ANGELES IN THE MIRACULOUS DAY OF AMALIA GÓMEZ BY JOHN RECHY ...... 663

ALVARO LUNA (UNIVERSITY OF CALIFORNIA) PARÍS/CARAX ...... 671

JOSÉ LUQUE CABALLERO (UNIVERSIDAD CARLOS III DE MADRID) CONTRAFORMAS DE CIUDAD ...... 679

CRISTINA MORALES FERNANDEZ (EINA, CENTRE UNIVERSITARI DE DISSENY I ART) LA IDENTIDAD BARRIAL EN EL DOCUMENTAL “FLORES DE LUNA”. UN ANÁLISIS DESDE LA MEMORIA HISTÓRICA, EL SENTIDO DE PERTENENCIA Y LA GEOMETRÍA DEL PODER ...... 689

DANIEL DAVID MUÑOZ MORCILLO YAMILA DÍAZ MORENO (UNIVERSIDAD CARLOS III DE MADRID) THE CITY OF THE ANTHROPOCENE: SOME PROBLEMS WITH THE NOMENCLATURE AND A LITERARY EXAMPLE ...... 699

KATARZYNA NOWAK MCNEICE (UNIVERSIDAD CARLOS III DE MADRID) URBAN MODERN IMAGINARY AND NATIONAL IDENTITY IN POST-WAR GREECE: PHOTOGRAPHY IN THE ILLUSTRATED JOURNAL EIKONES (1955-1967) ...... 707

EVI PAPADOPOULOU (ARISTOTLE UNIVERSITY OF THESSALONIKI) THE ENEMY WITHIN: THE CITY AND THE CONSTRUCTION OF SERIAL KILLER IDENTITIES IN AMERICAN POLICE PROCEDURAL FICTION ...... 720

MONA RAEISIAN (PHILIPPS-UNIVERSITÄT MARBURG)

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

CIUDADES IMAGINADAS: MADRID, BARCELONA Y SEVILLA EN LAS REVISTAS EXTRANJERAS DE GEOGRAFÍA POPULAR (1970-2015) ...... 728

MARÍA RAMÓN GABRIEL (UNIVERSIDAD CARLOS III DE MADRID) LA CIUDAD TRANSFORMADA, REPRESENTACIÓN Y DISCURSO...... 736

JACOBO SUCARI (UNIVERSITAT DE BARCELONA) LA BARCELONA DE PETRA DELICADO ...... 746

MARIADONATA ANGELA TIRONE (UNIVERSIDAD DE SALAMANCA) LEYENDO ENTRE RUINAS: LA HABANA, LA DECADENCIA DEL ENCANTO O EL ENCANTO DE LA DECADENCIA ...... 755

SILVINA TRICA-FLORES (STATE UNIVERSITY OF NEW YORK) IDENTIDAD URBANA E IMAGINARIOS FÍLMICOS ...... 764

AURORA VILLALOBOS GÓMEZ (REAL ACADEMIA DE NOBLES ARTES DE ANTEQUERA) LA CIUDAD VASCA A TRAVÉS DEL HUMOR GRÁFICO DE LA SERIE “ZAKILIXUT” (1977): DE LA TIERRA MADRE A LA CIUDAD MODERNA ...... 774

AITOR CASTAÑEDA (UNIVERSIDAD DEL PAÍS VASCO) GAUDÍ, ARQUITECTO GENIAL EN LA CIUDAD DE LOS PRODIGIOS, DE EDUARDO MENDOZA ...... 784

FRANCISCO LEÓN RIVERO (BENEDICTINE COLLEGE) LOS SONIDOS URBANOS. LA CIUDAD DESDE LA PERSPECTIVA DE LA MÚSICA CLÁSICA ...... 793

ANA BENAVIDES (UNIVERSIDAD CARLOS III DE MADRID)

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

Comité científico y de organización

Manuel Palacio, Presidente del Congreso, Decano de la Facultad de Humanidades, Comunicación y Documentación, Universidad Carlos III de Madrid.

Carlos Manuel, Primer Vicedecano de la Facultad de Humanidades, Comunicación y Documentación, Universidad Carlos III de Madrid.

Julio Checa, Departamento de Humanidades: Filosofía, Lenguaje y Literatura, Universidad Carlos III de Madrid.

David Conte Imbert, Departamento de Humanidades: Filosofía, Lenguaje y Literatura, Universidad Carlos III de Madrid.

Mª Jesús Fuente, Departamento de Humanidades: Historia, Geografía y Arte, Universidad Carlos III de Madrid.

Carmen Jorge, Departamento de Biblioteconomía y Documentación, Universidad Carlos III de Madrid.

Ana Mejón, Departamento de Periodismo y Comunicación Audiovisual, Universidad Carlos III de Madrid.

Farshad Zahedi, Departamento de Periodismo y Comunicación Audiovisual, Universidad Carlos III de Madrid.

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La ciudad: Imágenes e imaginarios

REPRESENTACIONES

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)

“I’m just trying to make my city a better place” Social issues, superpowers, and New York City in Netflix’s 2015-2017 marvel series franchise Octávio A. R. Schuenck Amorelli R. P. Pedro Afonso Branco Ramos Pinto (Universidade de Brasília) Resumen Una señal luminosa de angustia que recorre el cielo suplica por un superhéroe capaz de derrotar al mal que invade Crime Laley. Seguramente, la parte más aterradora de Gotham City también es la cuna de su héroe: fue allí donde, como niño, Bruce Wayne presenció el asesinato de sus padres, un evento que lo marcó profundamente y fue la base para el nacimiento de Batman. A menudo, los superhéroes existen en universos ficticios propios y navegan por lugares y espacios que se desenredan de manera fluida, - pero no necesariamente armoniosa - y generalmente en consonancia con una razón de ser particular. Como Gotham City, estas ciudades ficticias a veces ganan tanta complejidad que evolucionan de telones de fondo a personajes, lo que influye profundamente en varias facetas de las trayectorias de otros personajes. Pero, ¿qué cambia cuando estas influencias, como las inclinaciones que las alimentan y los desafíos que enfrentan, están intrínsecamente conectadas con lugares reales? ¿Qué sucede cuando los superhéroes y nosotros coexistimos en la misma ciudad?

Este artículo analiza las interpretaciones recientes de Netflix de Marvel's Daredevil, Luke Cage, Iron Fist, Jessica Jones y The Defenders para comprender cómo el arco dramático de cada serie se nutre, se entremezcla y se basa en elementos específicos de la geografía y la historia de Nueva York y sus texturas sociológicas. Proponemos un argumento doble: en primer lugar, que estos superhéroes se enreden en la trama de la ciudad de Nueva York como encarnaciones míticas de algunos de sus problemas sociales más apremiantes, cuyas narraciones constituyen vías para audiencias diversas para interactuar críticamente con la ciudad, sus luchas, y sus múltiples modos de vida. En segundo lugar, que estas narraciones explotan roles claramente definidos de “héroe” y “villano” y emplean superpoderes como abstracciones diseñadas para apelar a una noción amplia, mal definida, de “justicia”, mientras exponen dilemas reales de moralidad y luchas de diseño y aplicación de políticas apuntalando ambientes urbanos particulares. En última instancia, argumentamos que las historias de superhéroes son artefactos culturales importantes porque tienen el potencial de reunir a las audiencias, y establecer el tono de las disputas sociales e ideológicas relacionadas con espacios urbanos específicos, e instar a que su interacción con los paisajes simbólicos de las ciudades sea más sistemáticamente estudiada según perspectivas interdisciplinarias. Este problema recicla la experiencia urbana como una inmersión a través de imaginarios, paisajes y territorios realistas.

Abstract

A luminous distress sign raging across the sky begs for a superhero capable of defeating the evil that infests Crime Alley. Undoubtedly the scariest part of Gotham City, it is also the cradle of its hero: it was there that, as a child, Bruce Wayne witnessed the murder of his parents - an event that deeply marked him and laid the foundation for the birth of Batman. More often than not, superheroes exist in fictional universes of their own and navigate places and spaces that unravel fluidly - but not necessarily harmoniously - and generally in alignment with a particular raison-d’être. Like Gotham City, these fictional cities sometimes gain so much complexity that they evolve from backdrops into characters, thus deeply influencing various facets of other characters

- 486 - La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6) trajectories. But what changes when these influences - such as the inclinations that fuel them and the challenges they face - are intrinsically connected to real places? What happens when superheroes and us coexist in the same city?

This paper analyses Netflix’s recent renditions of Marvel’s Daredevil, Luke Cage, Iron Fist, Jessica Jones, and The Defenders to understand how each series dramatic arc is informed by, intermingle with, and build upon specific elements of New York City’s geographic, historic, and sociologic textures. We propose a twofold argument: firstly, that these superheroes become entangled in the fabric of the New York City as mythical embodiments of some of its most pressing social issues, whose narratives constitute avenues for diverse audiences to critically engage with the city, its struggles, and its multiple modes of living. Secondly, that these narratives exploit clearly defined roles of “hero” and “villain” and employ superpowers as abstractions designed to appeal to a broad, ill-defined notion of “justice” while exposing real dilemmas of morality and struggles of policy design and enforcement underpinning particular urban environments. Ultimately, we argue that superhero stories are important cultural artifacts in that they are vested with the potential of rallying audiences around, and setting the tone of social and ideological disputes related to specific urban spaces, and urge that their interplay with the symbolic landscapes of cities be more systematically studied in cross-disciplinary perspectives. This issues recycles the urban experience as an immersion through imaginaries and realistic landscape and territories.

Palabras Clave: fenómenos urbanos, problemas sociales, lugares de la ciudad, vecindario Keywords: urban phenomena, social issues, city places, neighborhood,

Introduction

In a constant development since 2008, the cross media franchise centered in the audiovisual re-creation of Marvel Comics stories from comic books and graphic novels has been gaining audiovisual markets, spreading itself over video-games, on-demand streaming platforms, blockbuster cinema and television series. This brief paper will focus on the Marvel Studios and Netflix’s 2015-2017 series franchise, which leads to New York City based characters and its routine environment. The birth of cinema, under the transformations of the industrial revolution, is contemporary with modern geography and its academic development. The languagesand aesthetics of the audiovisual are developed in the first years of cinema with a documentary perspective, the portrait of the landscape as well as the human marks left in the space - the territory and the place - are projected in the works of the brothers Lumière and of the other filmmakers that appear the From 1895 onwards, like any other form of previous narrative, cinema portrays, from the perspective and discourse of author, camera, direction, production and editing, human issues in their relations with themselves and with nature and with space. Academic connections between geography and cinema began to form with the development of humanistic geography in the late 1970s. While the first incursions into the media, art, and communication centered on literature and painting, it was in the 1980s those aspects of popular culture (Lukinbeal, 2009), music or film, and the universe that surrounds it to compose new possibilities of geographic object. The force of cinema leads the geographer to study senses and identities, culture and economy.

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This cinematographic force can draw attention to narrative aesthetics, language resources, the acquired form of spatial representation and its agents of spatial transformation since “geographic space is cyclically (des)constructed in artistic realization” (Schuenck Amorelli, 2013) because cinema deals with the lived space - the space conceived in the perspective of the individual, the citizen and the collective - but also deals with the reconstructed and recycled space in the imaginary.

Geography of Cinema

This space is made up of territories, landscapes, places and metaphors. Images and filmic sounds have the function of constructing their own spatiality through the artistic-industrial proposition. The landscape modeled by the camera and the direction of a film is capable of generating an illusion in the viewer, and inserting into the social perception an Image - that can circumvent the limits of reality. The metaphor of cinematography is, among others, in its relation with space and human perception, in a self-reflective and metalinguistic process. The landscape becomes an image in the visual perspective of understanding space and symbolizes spatial relationships. The territory is revealed in the film according to the actions of each character, in which each traces through the physical and symbolic ways presented on the screen a network of actions circumscribed in its territory. It’s the emotional concept of place and all the spatiality inside ones meanings that makes cinema a great mix of understandings, relations, beliefs and ideologies. It gives passion and humanity to the narratives, the landscapes and territories. The place gains meaning by characters journeys as their actions leads to spatial transformation.

Development: Superheroes go Audiovisual

Both the cinema and the comic make up the cultural industries, a system that transforms art into commerce in an apparatus of spectacularization of the facts “with the complete penetration of the media around the world, virtuality ended up surpassing reality, and today it is the real which reproduces the virtual, according to a certain Baudrillard.” (Guerreiro, 2002). For Harvey (1992) this virtuality occurs:

Through the experience of everything - food, culinary habits, music, television, shows and cinema - today it is possible to experience the geography of the world vicariously as a simulacrum. The intertwining of simulacra of daily life gathers in the same space and in the same time of different worlds (of commodities), but it does so in such a way that it conceals in a near perfect way any vestiges of origin, of the processes of works that produced them or of the social relations implied in their production.

While in the film industry Hollywood studios such as 20th Century Fox, Warner Brothers or Universal Pictures consecrate a secular hegemony, in the universe of comics the highlights go to publishers Marvel Comics and DC Comics, the two most successful publishers in this scenario and the main driving forces of this transmissive connection with cinema. Both publishers have among their creations, scripts and characters the various aspects of the Hero's Journey and the Power of Myth, treated by Joseph Campbell throughout his work on the origin of the classic hero and his motivations.

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Development: Who are those supergods?

While the main DC Comics heroes live their supergods identity most of the time, in the countless narratives of Batman, Superman and Wonder Woman, the Marvel Comics competition has brought a humanized strand to its characters, bringing its pages to crises of these characters as civilians and also as heroes, in addition to setting them in real cities such as New York, Los Angeles and other global cities. This is the case of Peter Parker, a teenager and orphan created by his uncles who, in an experiment with radioactive spiders in a collegiate science class, gains spider abilities such as superforce, sharp instinct, and the ability to scale walls. At this point Peter Parker takes on the nickname of Spider-Man and begins to divide his time between high school, the yearnings of the adult life to come and the responsibility to protect New York of robbers, terrorists and supervillains. Spider-Man is one of the main symbols of Marvel Comics and along with him the publisher has icons like Iron Man, an alcoholic scientist and industrialist billionaire who develops a computerized armor to protect himself, Captain America, the American super-soldier created to be a final weapon against World War II Nazism, and Thor, the thunder god of Germanic mythology, a millennial Viking who moves with the human causes and feelings of the twentieth century and leaves his paradise with Odin, the God- Father, to live on planet Earth and protect the human species. These three names lead the Avengers, a group of heroes, who associate with government entities, are willing to fight for freedom, democracy and salvation of planet Earth. Faced with this iconography, Marvel Comics created in 2005, Marvel Studios, its film producer that would no longer depend on other Hollywood companies to take their characters to the movie screens. Marvel Studios proposes to create a scenario of fantastic realism shared by its heroes, since all live and act in real cities, have financial or family problems, romance cases and experienced real space facts such as the Great Wars of the twentieth century, the Cold War, terrorism, economic crises. The film production of Marvel Studios suggests a world interpretation based on dynamic global relationships, with actors such as Iron Man or Captain America interceding in causes that go beyond the US territory for the preservation of the human species, but nourishes the bias of imperialism political and economic bias the actions of the USA in relation to the other countries. According to the survey of Box Office company Mojo the productions “The Avengers” (2012), “Avengers: The Age of Ultron” (2015) and “Iron Man 3” (2013), all based on Marvel Comics creations that arrived to theaters through Marvel Studios, grossed more than $ 3.1 billion while they were in theaters around the world.

Table 1: Marvel Studios Movie Dollar Billing Table Ranking Movie Company Worldwide

1 Marvel's The Avengers Buena Vista $1,518.8

2 Avengers: Age of Ultron Buena Vista $1,405.4

3 Iron Man 3 Buena Vista $1,214.8

4 Captain America: Civil War Buena Vista $1,153.3

5 Spider-Man: Homecoming Sony $880.1

6 Guardians of the Galaxy Vol. 2 Buena Vista $863.6

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7 Guardians of the Galaxy Buena Vista $773.3

8 Thor: Ragnarok Buena Vista $741.7

9 Captain America: The Winter Soldier Buena Vista $714.3

10 Doctor Strange Buena Vista $677.7

11 Thor: The Dark World Buena Vista $644.6

12 Iron Man 2 Paramount $623.9

13 Iron Man Paramount $585.2

14 Ant-Man Buena Vista $519.3

15 Thor Paramount $449.3

16 Captain America: The First Avenger Paramount $370.6

17 The Incredible Hulk Universal $263.4 Font: adapted from IMDB (2015)

Development: United States of the Avengers

These same hero icons also symbolize dreams and desires that feed human life through the hero's journey. For geographic space it follows the transformative potential that cinema has in the products and meanings of its conception, production and representation. This type of product needs to be studied in all its phenomenological contribution, it is an industrial product that moves masses around the world and leaves marks of thought that feed the imagination on the space itself, because in this universe of fantastic realism we have the presence of a hero who he wears his own US flag and, beyond his intentions, his actions symbolize much more than a global Manichean salvation discourse, it goes beyond the duality between good and evil, for this hero was created for and still represents a cause that refers to imperialism. It cannot be just by coincidence that Thor, the God of the Asgardian Thunder, supreme power entity of the ancient Viking religions chooses the US as home. And as the flagship of this block we have the Iron Man, who besides being a multi-billionaire scientist, flies through the world equipped with powerful armor against extreme levels of warfare and in his civil persona, playboy Tony Stark, is also the biggest producer and marketer of weapons on the planet, an allusion to US military policies. The unfolding of the narratives tends to demonstrate centralities between the flows of actions of the characters. As much as they face global threats, most of the characters are native or naturalized in the U.S., the seat of the characters' actions is New York City. The territory of the United States of America hosts most of the events of the films. And by the narrative of the works it is possible to see the importance of the city of New York represented continuously in the films, series and other products. Cosmopolitan life is represented in the daily lives of the characters; the journey of the hero described and analyzed by Joseph Campbell is part of this experience, and therefore part of this analysis. It is up to this research to understand the city according to the journey of these heroes, their connections between neighborhoods, customs, events, the metaphor in clichés, prejudices and food to the imaginary that these works proposes.

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Development: Netflix’s New York City

At the close of the movie “The Avengers”, Tony Stark, proposes after the battle wear, that the heroes gather to eat an Arab dish, in a diner he knew near the scene of the battle, making great scenarios for battles and also common acts. Mean while the narratives developed in these series of Netflix Marvel superheroes escape the canon of superheroes that commonly materialize a dispute, fundamentally abstract, between good and evil. They, on the contrary, lend mythical clothing to contemporary disputes about how societies ought to be governed. Those stories roll on gender issues – Marvel’s AKA Jessica Jones, racism – Marvel’s Luke Cage, classism and gentrification – Marvel’s Iron Fist, and the development and contradictions of justice in the perspectives of Western Christian Jewish society – Marvel’s Daredevil. All these issues are dealt with materially through the active employment of the city, its geographies and imaginary, in the construction of the narrative. This is evidenced in the sense of commitment expressed by superheroes at various times, but especially in the crossover series Marvel’s Defenders, whereupon the characters are joint together in the pursuit of a common cause, also a commitment to the city especially with Matt Murdock/Daredevil, the neighborhood and young people with Luke Cage, the genre, misogyny and abusive relationships with Jessica Jones. In fact, the narrative arcs themselves of these series materialize these questions, which, again, do not correspond to an abstract Well-Evil dispute, but contemporary issues pertaining to functioning and harmony living in society. New York City remains as the center of all the narratives. The City itself became an object of disputes among other characters, it stages and depicts their passion, desires, and psychopathies in the ambition of maintain the order according to one beliefs. Despite the truth of any hero or villain, it is the city that suffers and survives the development of gangs, mafias, vigilantes, corruption and the various demands of financial capital. The series reconstruct on the screen the landscape and territoriality of Hell’s Kitchen and Harlem, for most of the development of Daredevil, Luke Cage and Jessica Jones, and Iron Fist’s Wall Street.

Characters Analysis: Daredevil

The character Matt Murdock, protagonist of “Marvel’s Daredevil”, more than native of New York, is native of the district of Kitchen of the Inferno, or Clinton, in the western portion of the island of Manhattan, its actions are basically delimited to this neighborhood both in its identity civilian community lawyer as well as the masked vigilante Daredevil, the Demon of the Kitchen of Hell. Its habits and its vision of the city are constructed through the local identity, a composition of immigrants originating mainly of Ireland and Italy, with great cares by the Catholicism and the gastronomy of masses.

Characters Analysis: Luke Cage

The same construction is seen in the character of Luke Cage, the black hero who lives and works in the Harlem region, where his cycle of actions is illustrated by soul and rap music, clashes against racism and classism still in force. The Harlem hero embodies classic race issues in the U.S., for example mass incarceration, friction with the police system, vulnerability of a youth devoid of perspectives, etc. This all against the background of a process of marginalization - in the series, through the gentrification

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Characters Analysis: Jessica Jones

Super-heroin embodies issues of gender inequality in their most frightening materiality: psychological violence against women – grooming, gaslighting, etc. The dramatic strategies adopted, such as villain Kilgrave, capable of giving tangible expression to “immaterial” problems and the relationship between Jones (an alcoholic and considered a person of lesser social capital) and Trish (successful, working on a radio show) serve to substantiate a narrative based on policies of visibility of the question of women in contemporary society. The central question of the character is: how to make credible the existence of the villain Kilgrave? This question relates directly to the issues of justice with which the Daredevil strikes. Jessica, however, faces a specific villain - violence against women in a context that subtracts from them, is against which society does not have adequate legal apparatus. The city, then, constitutes the space of interlocution in which the heroine, between superpowers and interpersonal relations, seeks to legitimize – and remedy – the evils inflicted on her and on the other women of the series. Which leads Jessica, as symbol of a social and extremely necessary transformation on gender issues, among women are still victims of several crimes and abusive relations and part of cosmopolitan living.

Characters Analysis: Iron Fist

Danny Rand, the Immortal Iron Fist, Protector of K'un-Lun, Sworn Enemy of the Hand is an outsider in his own heritage, besides his living in NYC across his younghood. The main notion of urban reality by the character is based on cultural and social learnings he gained by several years being educated by monks in a hidden city on Himalayas. Danny Rand does not understand the importance of financial capital as configured on the Wall Street reality. He turns into a misplaced man while tries to brake the interests of his own company on gentrification.

Conclusions

Daredevil is blind, like justice, counting on other, sharper senses to move around the world. He is a lawyer, which places him at the center of conflicts of legal sensitivity.

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Jessica Jones is super strong - stronger than any man – which, however, was not enough to stop male exploration about her body and mind. Luke Cage is, in addition to superstrengh, super-resistant – even being bulletproof, which gives him a privileged status of resistance to the violence usually inflicted on other American blacks – e.g. police violence, but which serves him little against the prospect of social ostracism of incarceration. What is expected to be emphasized here is how these narratives differ from others of the same genre with respect not only to the issues raised, but only the hero's own status in contemporary society. If Spider-Man, for example, also inhabits New York, his raison d'être is fundamentally linked to the individual (issues of personal responsibility, handling of his two lives, etc.). So it is also his narrative arc - the hero is constituted by an “accident of course” and continues to exist due to threats (villains) that also exist due to “accidents of course” (Connors, Green Goblin, etc.). Thus, the myth of the spider man - although it encompasses values on ethical imperatives proportional to the capacities of the individual (with great power comes great responsibility) - is a surrender of the abstract clash between good and evil. Daredevil, Jessica Jones, Iron Fist and Luke Cage render concrete social clashes, which, in their constitutions as heroes, are framed in core issues (which, in the end, also provide the conditions disappearance of these mythical figures). The city in this context comes to provide the context, the historical and material specificities, and the physical / emotional anchorage of what is at stake with these disputes. New York is thus the space in which we coexist with these heroes and their disputes whenever we update them - every episode of racially motivated police violence, every case of violence against women, every failure of the legal system to administer justice with competence. The hero's empirical spatial experience, its origins, acts, and personality need to be analyzed. The essence of geographic space incarnates as the totality of the film itself before an audience, conditioning to the form of simulacrum, new experiences to the spectators. The film is projection and spatial representation and has in its artistic and symbolic nature the place, the landscape, and the territory. And the extension of the film takes place beyond the artistic-cultural quotient, its industry has led us to see a process of ideological, social, political, cultural dissemination that for Milton Santos (2000), in an article published in the Folha de São Paulo newspaper, says that “the contaminations of one culture by the other have become industrially possible, giving rise to a stronger influence of those hegemonic turns over the others, which are thus modified”. The characters become cultural icons, representations of ideals and mechanisms of consumption. The ability of these pop culture supergods to mobilize hundreds of millions of dollars in movie box office and hundreds of millions of dollars in licensed products created from films is a fact that impresses on the development of the Cultural Industry and drives its mass of consumption to empirical and dream experiences on human relations. This research is delimited by the city, by the customs and identity represented. The phenomenon to be understood is how these works absorb the city for its narratives and return to the public new forms of consumption of urban space, in a cycle of construction and deconstruction of the imaginary based on symbols of human yearnings and needs - such as courage, hope and justice - aligned with the constant consumption of space as a human product composed of actions, metaphors and meanings. Through the journey of the hero proposed by Joseph Campbell is that the relationship of the characters with the city will be analyzed, among their customs and actions, their propositions of space. Under the hypothesis that the audiovisual feeds and

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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6) is fed by the imaginary, and therefore the heroic journey attributes emotions on the space to the imaginary, the relation between the cinema and the city must be dissected from the perspective of the heroes, the public, and the authors to understand the feedback loop that this phenomenon creates.

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