Cinematic Urban Geographies
Total Page：16
File Type：pdf, Size：1020Kb
Screening Spaces Series Editor Pamela Robertson Wojcik Dept. of Film, Television, and Theatre University of Notre Dame Notre Dame, Indiana, USA Screening Spaces is a series dedicated to showcasing interdisciplinary books that explore the multiple and various intersections of space, place, and screen cultures. More information about this series at http://www.springer.com/series/14491 François Penz • Richard Koeck Editors Cinematic Urban Geographies Editors François Penz Richard Koeck Department of Architecture School of Architecture University of Cambridge University of Liverpool Cambridge, United Kingdom Liverpool, United Kingdom Screening Spaces ISBN 978-1-137-46830-7 ISBN 978-1-137-46084-4 (eBook) DOI 10.1057/978-1-137-46084-4 Library of Congress Control Number: 2017940414 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institu- tional affiliations. Cover Illustration: Still from Peter von Bagh’s film Helsinki, Forever (2008) - Production: Illume Ltd – Original: Helsinki City Museum Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Nature America Inc. The registered company address is: 1 New York Plaza, New York, NY 10004, U.S.A. The List of Contributors is updated in the book. To Peter von Bagh (1943–2014) CONTENTS 1 Introduction 1 François Penz and Richard Koeck Part I Cartographic Cinema: Maps in Films and Maps as Mental Cinema 2 The Cinema in the Map – The Case of Braun and Hogenberg’s Civitates Orbis Terrarum 23 François Penz 3 Cinematic Cartographies of Urban Space and the Descriptive Spectacle of Aerial Views (1898–1948) 47 Teresa Castro 4 Charting the Criminal: Maps as Devices of Orientation and Control in Fritz Lang’s M (1931) and Francesco Rosi’s Le mani sulla città (1963) 65 Henry Keazor Part II ‘Movie Centric’ Map of Cities – Map-Reading and Ciné-Tourism vii viii CONTENTS 5 ‘Merely Local’: Film and the Depiction of Place, Especially in Local Documentary 81 Ian Christie 6 The Cine-Tourist’s Map of New Wave Paris 95 Roland-François Lack 7 Set-Jetting, Film Pilgrimage and The Third Man 113 Frederick Baker Part III Films as Sites of Memories – Lieux de Mémoires 8 The Cinematic Shtetl as a Site of Postmemory 137 Maurizio Cinquegrani 9 ‘Where Is the Dust That Has Not Been Alive?’: Screening the Vanished Polis in Stirbitch: An Imaginary 155 Michael Hrebeniak 10 Melancholy Urbanism: Distant Horizons and the Presentation of Place 175 Richard Coyne Part IV Cinematic Topographies Within Their Social and Cultural Practices 11 Cinematic Urban Archaeology: The Battersea Case 191 François Penz, Aileen Reid and Maureen Thomas 12 The Cinematic and the Televisual City: South London Revisited 223 Charlotte Brunsdon CONTENTS ix 13 ‘Los Angeles and Hollywood in Film and French Theory: Agnès Varda’s Lions Love… and Lies (1969) and Edgar Morin’s Journal de Californie (1970)’ 245 Mark Shiel Part V Database Cinema: Visualising the Cinematic Urban Archaeology and Geo-Locating Movies in the City 14 Urban Cinematic Palimpsests: Moving Image Databases for the City 271 Stavros Alifragkis and Giorgos Papakonstantinou 15 Geographies of the Moving Image: Transforming Cinematic Representation into Geographic Information 295 Richard Koeck and Mathew Flintham 16 Ghost Cinema App: Temporal Ubiquity and the Condition of Being in Everytime 313 Chris Speed, Maureen Thomas and Chris Barker Index 337 LIST OF CONTRIBUTORS Stavros Alifragkis holds a diploma in architecture from the Aristotle University of Thessaloniki (2002). He attended MPhil courses at the University of Cambridge (2003) and the National Technical University of Athens (2004). He holds a PhD from the University of Cambridge (2010). His doctoral thesis focuses on the cinematic reconstruction of the Socialist city in Vertov’s cinema. Stavros has taught undergraduate courses on the filmic representation of architecture and the city, architectural drawing and history of art and architecture. He has contributed to con- ferences with papers on cinematic cities and various film festivals with linear and interactive moving image projects. Frederick Baker is a film scholar, visual archaeologist and film director. His feature and documentary films for the BBC and Arte have won awards worldwide and have also been shown at Cannes. Active as an arts-based researcher, his work on projection mapping and expanded cinema, has been published in the ‘Art of Projectionism’ (Czernin Verlag 2007). His most recent work, ‘The Return of Harry Lime’ (2014) was the first film mapped onto the Bridge of Sighs, St John’s College. A specialist in Austrian Cinema, he has published extensively on Carol Reed’s classic ‘The Third Man’ and is the founder of Cambridge’s annual international research symposium ‘Picturing Austrian Cinema’. Current research includes: a film essay on 120 years of Austrian film, Ludwig Wittgenstein and Arthur Schnitzler’s relationship to cinema and the role of film in recent political protest movements. In the field of the digital humanities his current EU-funded research concerns the proto-cinema of prehistoric xi xii LIST OF CONTRIBUTORS rock-art and its digital presentation through interactive 360 Virtual Reality film in both cinema and exhibition spaces. Chris Barker is an Edinburgh-based creative technologist and co-founder of the design firm Peak15. He was the primary developer of the Cinematic Geographies of Battersea mobile application, while working with Professor Chris Speed in the Design Informatics research centre at Edinburgh College of Art. His interests include new forms of locative media, persistent digital world building and the use of games for social change. Chris is currently dreading the inevitable rewrite of the Ghost Cinema app to catch up with Apple’s constant changes to the iPhone ecosystem. Charlotte Brunsdon is Professor of Film and Television Studies at the University of Warwick, where she is currently Principal Investigator on the AHRC funded Projection Project (2014–18). Her books include Television Cities: Paris, London, Baltimore (Duke, 2018), Law and Order (BFI 2011) London in Cinema (BFI 2007) and The Feminist, the Housewife and the Soap Opera (2000). Teresa Castro is Associate Professor in Film Studies at the Université Sorbonne Nouvelle – Paris 3. A former post-doctoral researcher at the musée du quai Branly (Paris) and at the Max Planck Institute for the History of Science (Berlin), she was an Associate Curator for the film section of the exhibition ‘Seen from Above’ at the Centre Pompidou Metz in 2013. A significant part of her research has focused on the notion of a mapping impulse of images and the history of cartographic shapes such as panoramas, aerial views and atlases. In 2011, she published La Pensée cartographique des images. Cinéma et culture visuelle (Lyon, Aléas). Ian Christie is a broadcaster and curator, and professor of Film and Media History at Birkbeck College, where he launched the London Screen Study Collection to promote research on London’s cinematic history and legacy. A past president of Europa Cinemas, and a Fellow of the British Academy, he was Slade Professor of Fine Art at Cambridge University in 2006. His work on British and Russian film history, and on nineteenth century and contemporary new media, stresses their links with wider visual and tech- nological culture. Recent publications include The Art of Film: John Box and Production Design (2009) and an edited collection Audiences (2012), www.ianchristie.org. LIST OF CONTRIBUTORS xiii Maurizio Cinquegrani is a Lecturer in Film Studies at the University of Kent, having previously taught at King’s College London, Birkbeck and London Metropolitan University. His work investigates the relationship between history, memory, space and the moving image, with a particular focus on non-fiction films. His first monograph, Of Empire and the City: Remapping Early British Cinema, was published by Peter Lang in 2014. More recent publications include The Cinematic City and the Destruction of Lublin’s Jews, a journal article published in Holocaust Studies in 2016 which anticipates a series of outputs on the subject of the documentary landscapes of the Holocaust in Eastern Europe. Richard Coyne’s research examines the relationship between architec- ture, technology, design, space and contemporary cultural theories. He has published nine books on digital and philosophical themes. The most recent is Mood and Mobility, Navigating the Emotional Spaces of Digital Social Networks with MIT Press. He is currently co-investigator on a project examining aging and mobility using neural imaging. He supervises many students investigating sound, virtual environments, impacts of social media, video gaming and interaction design, and many of his own reflec- tions appear on a blog site he has been hosting since 2010: http:// richardcoyne.com. Matthew Flintham is an artist and writer specialising in cinematic repre- sentations of landscape, and issues of militarisation, security and surveil- lance.