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

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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. His work intersects academic and arts practices, exploring speculative relationships between film, architecture, power and place, and the possibilities for arts methods to reveal hidden or immaterial relations in the landscape. During 2014, Matthew was Leverhulme Artist-in-Residence in the School of Geography, Politics and Sociology (GPS) at Newcastle University, and between 2013–15 was Research Associate at the Centre for Architecture and the Visual Arts (CAVA) at Liverpool University. He is currently an ECR Fellow in the Faculty of Art, Design and Architecture at Kingston University. Michael Hrebeniak is a Fellow of Wolfson College Cambridge, where he is Director of Studies in English, and a Lecturer in English at Magdalene College. He previously taught Humanities at the Royal Academy of Music, and served as a journalist and an arts documentary producer for Channel 4. He works across the fields of twentieth-century literature, visual culture, performance and urban ecology. His concern with xiv LIST OF CONTRIBUTORS interdisciplinarity informed his first book, Action Writing: Jack Kerouac’s Wild Form, which located Beat Generation writing within the New York and San Fransisco milieu of painting, jazz and radical politics. Henry Keazor studied History of Art, German Literature, Musicology and Philosophy at the universities of Paris and Heidelberg; Ph.D. in 1996 at Heidelberg University, then until 1999: Fellow and Assistant Professor at the Kunsthistorisches Institut in Florence. Afterwards Assistant Professor at the Institute for Art History at the Goethe-University Frankfurt/Main, 2005: “Habilitation” ibid. 2005 to 2006: Visiting Professor at the Institute for Art History at the Johannes Gutenberg- University Mainz. From 2006 to 2008: Heisenberg-Fellow of the Deutsche Forschungsgemeinschaft. 2008 to 2012: Chair for Art History at the Saarland University. Since then Chair for Early Modern and Contemporary Art History at the Heidelberg University. Richard Koeck is a Cambridge graduate and now Professor in Architecture and the Visual Arts in the School of Architecture and director of the Centre for Architecture and the Visual Arts (CAVA) at the University of Liverpool. His research/practice examines urban phenom- ena in relation to the visual culture of cities in areas such as architectural design, film, place marketing and outdoor advertising, with a particular focus on time-based media and other digital technologies. His is co-editor of The City and the Moving Image (Koeck … Roberts, Palgrave 2010) as well as author of Cine|Scapes: Cinematic Spaces in Architecture and Cities (Routlege, 2012) and Inhabiting the Image of the City (Routlege, forthcoming). Roland-François Lack is Senior Lecturer in French and Film at University College London. He is the creator of The Cine-Tourist web- site, devoted to the relation between place and film, and is currently writing a monograph on the places of early French cinema. Giorgos Papakonstantinou is an architect, director of documentary films and interactive multimedia projects. Born in Athens in 1953, he studies in architecture (Athens), in cinema and multimedia (Paris) and D.E.A. (Master) thesis in Fine Arts and Image Technology, University of Paris VIII. PhD Thesis in Arts et Sciences of Art, Paris I University-Panthéon Sorbonne. Since 1999, he teaches Representation Technologies at the Faculty of Architecture of the University of Thessaly, Volos and he is a member of LECAD laboratory. His research activities focus on LIST OF CONTRIBUTORS xv representation technologies, visual communication, new space concepts, interactive museum applications and urban soundscapes. François Penz is an architect by training and Professor of Architecture and the Moving Image at the University of Cambridge where he directs the Digital Studio for Research in Design, Visualization and Communication. He is the Director of The Martin Centre for Architectural and Urban Studies – the research arm of the Department of Architecture. He has written widely on issues of cinema, architecture and the city and recently co-edited (with Andong Lu) Urban Cinematics (2011). His monograph Cinematic Aided Design: an everyday life approach to architecture will be published by Routledge in 2017. He is the Principal investigator of the AHRC project A Cinematic Musée Imaginaire of Spatial Cultural Differences (2017–2019). Aileen Reid is a historian on the Survey of London, the long-standing project on the history of London’s streets and buildings that is part of the Bartlett School of Architecture at UCL. She is currently also working on the AHRC-funded Whitechapel Histories, a pilot project for the co-crea- tion of urban history that uses a map interface to encourage public con- tributions of research, memories and photographs, as well as the Survey’s own research. She also teaches on the Bartlett’s MAs in Architecture and Historic Urban Environments and Architectural History. Mark Shiel is Reader in Film Studies in the Department of Film Studies, King’s College London. He is the author of Hollywood Cinema and the Real Los Angeles (2012) and Italian Neorealism: Rebuilding the Cinematic City (2006); and he is the co-editor of Screening the City (2003) and Cinema and the City: Film and Urban Societies in a Global Context (2001), both with Tony Fitzmaurice. Chris Speed is Chair of Design Informatics at the University of Edinburgh where he collaborates with a wide variety of partners to explore how design provides methods to adapt, and create products and services for the networked society. He is especially favours transgressive design interventions including cups that only hold coffee when you talk to some- one else in the queue, an application for sham marriages using the block- chain and an SMS platform for shoplifting. Chris co-directs the Design Informatics Research Centre that is home to a combination of researchers working across the fields of interaction design, temporal design, human geography, software engineering and digital architecture. xvi LIST OF CONTRIBUTORS

Maureen Thomas is a dramatist, screenwriter, interactive story-architect and director, who has pursued her research interest in the spatial organisa- tion of dramatic narrative as a Senior Research Fellow (Screen Media and Cultures) of Churchill College, Cambridge; as a Creative Research Fellow, Interactive Institute, Malmö and as a Visiting Artist, Media Lab, Aalto University, Helsinki. She is former Head of Screen Studies, National Film & Television School, UK and Professor of Cinematurgy and Interactive Storytelling, Norwegian Film School, Lillehammer. Maureen works with the Studio for Electronic Theatre (http://www.setlab.eu/) and remains a Senior Research Associate of the Digital Studio, Department of Architecture, University of Cambridge, which she co-founded with François Penz (http://expressivespace.org/Maureen_Thomas.html). LIST OF FIGURES

Fig. 2.1 Left: detail of the world map (1482) – Right: detail of the Forlani map (1565) 27 Fig. 2.2 Hoefnagel pointing (1581) Mola and Castelnovo, Civitates Orbis Terrarum III 28 Fig. 2.3 Time measured in clouds – Jan Christiaen Micker’s view of Amsterdam (c. 1660) 32 Fig. 2.4 Civitates Orbis Terrarum view of Cambridge in 1575 (left) – Richard Lyne map 1574 (right) 34 Fig. 2.5 Details of Lyne’s map (1574), on top, versus below, Hamond’s (1592) 36 Fig. 2.6 King’s College Chapel Left: detail of Lyne’s map (1574), right: detail of Smith’s interpretation (1575) 37 Fig. 2.7 Gray Friers plot of land in Lyne’s map, now the site of Sidney Sussex College 38 Fig. 2.8 Left: human figures in the Cambridge view – Centre: fish- erman in the Cambridge view – Right: human figures in the Oxford view 39 Fig. 2.9 Diagram of the four narrative layers of William Smith’s map (1575) 40 Fig. 3.1 Poster advertising a steam captive balloon at the Tuileries, ca. 1878, Typographie Morris, père et fils 50 Fig. 3.2 A face-shaped aerial view of Manhattan: ‘Lullaby of Broadway’, Golddiggers of 1935, dir. Busby Berkeley, Warner Brothers, 1935 55 Fig. 3.3 Dancing over Rio: Flying Down to Rio, dir. Thornton Freeland, RKO, 1933 57

xvii xviii LIST OF FIGURES

Fig. 3.4 Manhattan’s grid: The Naked City, dir. Jules Dassin, Mark Hellinger Productions, 1947 59 Fig. 3.5 Berlin after the bombs: A Foreign Affair, Billy Wilder, Paramount Pictures, 1948 61 Fig. 4.1 (a–b) Sergei Eisenstein, ‘Stachka’ (Strike), 1924 67 Fig. 4.2 Fritz Lang, ‘M’, 1931 68 Fig. 4.3 (a–d) Fritz Lang, ‘M’, 1931 69 Fig. 4.4 (a–b) Fritz Lang, ‘M’, 1931/Jon J Muth, ‘M’, 2008 (art and words by Jon J Muth originally published by Abrams ComicArts) 71 Fig. 4.5 (a–d) Francesco Rosi, ‘Le mani sulla città’ (Hands over the City), 1963 73 Fig. 6.1 Indicateur des rues de Paris (Paris: Editions L’Indispensable, 1962) 96 Fig. 6.2 Le Combat dans l’île (Alain Cavalier 1962) 97 Fig. 6.3 De l’amour (Jean Aurel 1964) 98 Fig. 6.4 Au pan coupé (Guy Gilles 1967) 99 Fig. 6.5 Brigitte et Brigitte (Luc Moullet 1966) 109 Fig. 7.1 Advertising for the official Third Man Sewer tour on the side of a sewer truck 117 Fig. 7.2 A Viennese sewer grating of the same design as used in the film The Third Man 124 Fig. 7.3 Karlsplatz, Vienna. The monumental sewer grating marking the entrance to the sewer tour, with the Secession building in the background 125 Fig. 7.4 Karlsplatz, Vienna. Monumental sewer grating with tourist advertising 127 Fig. 7.5 Pressgasse, Vienna. The entrance to The Third Man private collection 129 Fig. 8.1 Miejsce urodzenia (Birthplace, PawełŁoziński 1992) 141 Fig. 8.2 Shtetl (Marian Marzynski 1996) 143 Fig. 8.3 There Once Was a Town (Jeffrey Bieber 2000) 147 Fig. 8.4 Paint What You Remember (Slawomir Grunberg 2010) 148 Fig. 8.5 Return to my Shtetl Delatyn (Willy Lindwer 1992) 151 Fig. 10.1 360 degree panoramic projection of Sydney Harbour from Balmain, Sydney, NSW 177 Fig. 10.2 Melancholia, Engraving by Albrecht Durer 1514 179 Fig. 11.1 Battersea Power Station with two chimneys: Sabotage (Hitchcock 1936) 195 Fig. 11.2 Mix Me a Person (Norman 1964) 197 LIST OF FIGURES xix

Fig. 11.3 Battersea and Chelsea: Top: 1 & 2 Poor Cow (Loach 1967); 3 Sitting Target (Hickox 1972) Middle: 1 Poor Cow (Loach 1967); 2 Up the Junction (Collinson 1967); 3 My Beautiful Laundrette (Frears 1985) Bottom: 1 My Beautiful Laundrette;2Villain (Tuchner 1971) 198 Fig. 11.4 The cinematic urban archaeology approach: on the right a ‘vertical study’ where successive film layers are stacked above Battersea Power Station across the twentieth century; in the middle, a ‘horizontal study’, a cross sectional analysis of Poor Cow (Loach 1967) 208 Fig. 11.5 Poor Cow visual analysis – eliciting the narrative layers of Battersea (Image: Amir Soltani) 210 Fig. 11.6 Site from This is My Street (Hayers 1964) with Margery (June Richie) on Wycliffe Road, now the Wycliffe Road estate 215 Fig. 11.7 The view north down Plough Rd via Durham Buildings to Fulham power station in Poor Cow (Loach 1967) 216 Fig. 12.1 Only Fools and Horses (1981) title sequence: the still image of the market with the titles overlaid 229 Fig. 12.2 Desmond’s (1988): the hand-shake at the end of the title sequence 233 Fig. 12.3 The close-up on the small migrant boy from the Windrush sequence of the titles 234 Fig. 12.4 South of the Border (1988): Finn (Rosie Gallagher) and Pearl (Buki Armstrong) outside South London council housing 237 Fig. 12.5 South London in transition: Pearl, Finn and a local council- lor at terraced houses from which tenants are being evicted 238 Fig. 14.1 Diagrammatic representation of the proposed method for a rigorous and systematic neo-formalist, shot-by-shot, manual and computer aided analysis and interpretation of the data- base city. Black arrows describe the analytical process from theory to the intermediate results and, finally, the end results; the project’s previewing application. Red arrows highlight the retrospective reworking of aspects of the analytical process 279 Fig. 14.2 Diagrammatic representation of the proposed annotation schema (upper right corner) with a close-up on Rohmer’s ‘Architectural Space’ category [SM2/4220] for tagging ‘Spatial Metadata’ [DM2/4200] that are relevant to the descriptive annotation of the city and its architecture 281 xx LIST OF FIGURES

Fig. 14.3 (a) Line chart generated with Microsoft Excel showing shot durations for Carl Dudley’s Wide Wide World: Blue Holiday (USA 1965) scene about Athens; (b) Pie chart generated with Microsoft Excel showing shot scales for Carl Dudley’s Wide Wide World: Blue Holiday (USA 1965) scene about Athens 285 Fig. 14.4 The mental map of Carl Dudley’s Wide Wide World: Blue Holiday (USA 1965). Spatial representation of shots according to their geographical coordinates over a satellite image of Athens from Google Maps. Numbered blobs indi- cate the location for each one of the forty nine shots that comprise Dudley’s scene about Athens. In this representa- tion, six main film-location clusters can be detected: a. Syntagma Square (e.g. shots 31 and 43); b. Klathmonos Square and Korai pedestrian street (e.g. shots 14 and 29); c. Omonia Square (shots 8, 11 and 12); d. the National Archaeological Museum of Athens (shot 30) and e. Lycabettus Hill (shot 5, the establishing shot for the second sequence of Dudley’s scene about Athens). The sixth cluster is located at the port of Piraeus, which is further to the southwest 287 Fig. 14.5 Left: The mental map of Carl Dudley’s Wide Wide World: Blue Holiday (USA 1965) for shots 5 to 13. Right: Cinematic cartography of Athens based on shots 5 to 13 from Dudley’s movie. The original map of Athens, sourced from Google Maps, is cut up in smaller parts, each associated with the filming location of a single shot (or several adjacent shots filmed at the same location). Subsequently, these areas (clippings of the map) are rearranged so as to fit the linear ordering of the shots in Dudley’s cinematic narration. The result is a new cartographic representation of Athens that differs substantially from the official map of the city 288 Fig. 15.1 Aggregated filming locations in the municipal Battersea area 301 Fig. 15.2 Value columns of film locations representing frequency of use 302 Fig. 15.3 Visual field polygon: areas in purple are visible in opening establishing shot from Up the Junction 304 Fig. 15.4 A still frame from the Poor Cow visual field analysis illustrat- ing the time-base split screen perspective, produced by Monika Koeck 306 Fig. 16.1 Dumbiedykes, Edinburgh 1960s. ©Anne Egan 318 LIST OF FIGURES xxi

Fig. 16.2 iPhone screen-captures from the Timehop application. The events appear as a series of vertical events, allowing the user to scroll back in time 320 Fig. 16.3 Screen-captures from the Ghost Cinema iPhone application. Upon arriving at the GPS coordinates/Geofence of a former Cinema, the Commissionaire invites you to view clips from films shot in locations nearby 327 Fig. 16.4 The former Imperial/Ruby Picture Palace (1914–1981), now Barclays Bank (2015), 7–11 St John’s Hill, Battersea. ©English Heritage and ©Matthew Flintham 328 Fig. 16.5 Screen-captures from the Ghost Cinema iPhone application. The map view allows users to see where Ghost Cinemas are located. When users enter a geofence and view material the app uses their Facebook and Twitter accounts to enter the contemporary streams of content in social media networks 329 Fig. 16.6 The former Junction Picture House (1910–1917), now Natural Remedies (2015), 311 Lavender Hill, Battersea. ©English Heritage and ©Matthew Flintham 331