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Cities in Film: Architecture, Urban Space and the Moving Image An International Interdisciplinary Conference University of Liverpool, 26-28th March 2008 Conference Proceedings. This conference is organised by the School of Architecture and School of Politics and Communication Studies. The AHRC-funded research project, entitled City in Film: Liverpool's Urban Landscape and the Moving Image, is conducted by Dr Julia Hallam (principle investigator), Professor Robert Kronenburg (co-investigator), Dr Richard Koeck and Dr Les Roberts. This conference is supported by the Arts and Humanities Research Council (AHRC) and the University of Liverpool. Cover design: Richard Koeck and Les Roberts. Copyright cover image: Angus Tilston. Edited by Julia Hallam, Robert Kronenburg, Richard Koeck and Les Roberts. Please note that authors are responsible for copyright clearance of images reproduced in the proceedings. Cities in Film: Architecture, Urban Space and the Moving Image An International Interdisciplinary Conference University of Liverpool, 26-28th March 2008 Cities in Film explores the relationship between film, architecture and the urban landscape drawing on interests in film, architecture, urban studies and civic design, cultural geography, cultural studies and related fields. The conference is part of University of Liverpool's contribution to the European Capital of Culture 2008, and aims to foster interdisciplinary dialogues around architectural and film history and theory, film and urban space, and to point towards new intellectual frameworks for discussion. It seeks to draw on the work of theorists and practitioners engaged in ideas in these areas, examining film in the context of urban design and development and exploring in particular the contested social, cultural and political terrain that underpins these practices. Edited by Dr Julia Hallam Professor Robert Kronenburg Dr Richard Koeck Dr Les Roberts School of Architecture The University of Liverpool Leverhulme Building Abercromby Square Liverpool, L69 3BX T: +44 (0)151 794 2631 F: +44 (0)151 794 2605 E-mail: [email protected] 1 CITIES IN FILM: ARCHITECTURE, URBAN SPACE AND THE MOVING IMAGE Table of Contents 1. ABSTRACTS 5 2. DELEGATE PAPERS SUBMITTED FOR PROCEEDINGS Tuğba Şeyda Akşehir 36 A Step into the City: Use of Haydarpaşa Station as a city gate in Turkish Cinema after 1960 Helena Barranha 44 Views from above: cinema and urban iconography after Google Earth Bulent Batuman 49 City, Image, Nation: the visual representation of Ankara and the making of national subjects Iris Burgers 57 Transient glamour: the filmic representation of airports and its relation to real life architectural developments Graham Cairns 64 The city, the car and filmic perception: the commonalities between Robert Venturi and Michelangelo Antonioni. Teresa Castro 70 Cinema's Mapping Impulse and the City Jessica Ka-yee Chan 77 Third Meshchanskaia and The Goddess: Crafing Gendered Space in Cinematic Modernity Maurizio Cinquegrani 83 Modernity and Colonized Otherness: Early Actuality Films of London's Exhibitions Philip Drummond 89 Space, Narrative and Iconicity in Cinematic Representations of London's East End Gordana Fontana-Giusti 95 Avant-Garde film - and Its Role in Understanding the Space of the City 2 Ken Fox 102 The Three Spatialities of Los Angeles Latino/a Cinema David Foxe 107 "Know the Territory!" Bridges, Musicals, and Urbanism Karen Gaskill 115 Barge Culture - The ebb and flow of cultural traffic Tessa Maria Tan Guazon 121 Urban Decay, Redemption and the Feminized City – Filmic Articulations of Revive Manila’s renovated parks Theodora Hadjiandreou 129 Touchez pas au Grisbi (1954), Du Rififi chez les Hommes (1955) and Bob le Flambeur (1956); Discussing Criminal Paris, Spatial Representation, Memory and Modernity in mid-1950s Richard Koeck 135 Cine-Tecture: a filmic reading and critique of architecture in cities Claudia Lima 142 Filmic Narratives of the City Salvator-John Liotta 149 Tokyo: Cartography of a Cine-City: A Study about the Identity of a City and its relation with Moving Images Raymond Lucas 157 Acousmêtric Architecture: Filmic Sound Design and its Lessons for Architects Louise Mackenzie 165 From The Circular Boulevard To The Merry-Go-Round-A- Bout: The Lamentation (Tativille) And Resolve Of The Destruction And Loss Of Paris In Jacques Tati's Play Time Jonathan Mosley and Lee Stickells 171 Film/Architecture/Narrative Miho Nakagawa 178 The productions of multi-layered space in Japenese anime: Mamoru Oshii's Patlabor, Tokyo Afroditi Nikolaidou 186 Cinematic Uses of Athenian Monuments, or revisiting the ' Athenian Glory’ 3 Irina Novikova 193 Baltics – Images of City and Europeanness in Soviet Cinema Arbil Otkunc 200 Non-places at Cinema Ashley Perry 207 Car City: a documentary film mapping the components, modalities and malfunctions of Melbourne's regime of automobility Les Roberts 213 Cinematic Cartography: Movies, Maps and the Consumption of Place Eva Russell 221 Framing the Scene: A Cinematic Approach to a Redevelopment at the Halifax Waterfront Megan Saltzman 228 Gentrification and Spatial Tactics in José Luis Guerín’s En construcción Magdalena Saryusz-Wolska 234 Empty Spaces? The Images of Berlin Merrill Schleier 240 Harold Lloyd’s Safety Last (1923): Gendered Celebration of Los Angeles’s Modernity Lily Shirvanee 247 Mapping Narrativity in Public Space Cristian Suau and Moira Lascelles 252 One Week By Buster Keaton - Envisioning Prefab Architecture in Motion Luis Urbano 261 Films of Towns Ricarda Vidal 268 ‘A Journey for Body and Mind’? – The Urban Dreams of Modernism in Matthias Müller’s shortfilm Vacancy and in 21st-Century Car Commercials Kate Wells, Eva Nesselroth-Woyzbun and Julie Nagam 275 Projecting and Performing the contested Landscape of Toronto Through the Archive and Film 3. DELEGATE LIST 281 4 ABSTRACTS A Step Into The City – “Use of Haydarpaşa Station as a city gate in Turkish Cinema after 1960” Tuğba Şeyda Akşehir As a result of political course and social change, in Turkey, a rapid migration was occured after 1950. Unemployment, distress of subsistence and claim for a better life were the most important reasons of this social fact. The reasons of this migration and the difficulties faced by immigrants in cities were moved to the white screen by movies produced after 1960. In almost all films, migration was to İstanbul. Directors use variable forms of connections and interfere of immigrant defined at cultural and architectural dimensions with city as a background (slums, gettos ect.). The question is whether the problem in survival of immigrant in the city is himself who failed to adopt or the city / the citizen who failed to create spaces for them. Regardeless of the answer given in the end, almost all movies starts to tell their story from the same place; Haydarpaşa Station. Hopeful immigrant steps into the city from this historical building. Researching the persistence of directors in using the station as background at the same time in movies is the main goal of this paper. Stations- bus-terminals, airports are “interspaces” between arrival and departure place. They are the gates of citites. Since 1908, Haydarpaşa Station has connected Anatolia to İstanbul and İstanbul to Anatolia. The research will analyse station in terms of its historical meaning, architectural features and its location in İstanbul, in depth. Answers will be given to questions like, whether it is a cliche to use Haydarpaşa Station in this frequency or the peak point of the migrant’s journey to hope, bewitched by these features of the station is speacially emphasized. Even now, the traces of the station as a space in our memories, with quite the meanings mentioned above, have close relation with the senses established in movies . ___________________________________________________________________________ The construction of Urban Pastoral and the Carnivalisation of landscape through cinema Ana Francisca de Azevedo This paper explores the role of cinema in the cultural construction of the city. Particularly, it explores how the ideological construction of the urban pastoral nurtured by the Portuguese fascist regime was destilled through the filmic work of the Portuguese architect Cottinelli Telmo. Cottinelli Telmo was a central architect for the Portuguese fascist regime and several of his architectonic works are leading exponents of modernist space symbolism of Portuguese dictatorial period. But Cottinelli Telmo was also the pioneer of the Portuguese filmic comedy, the most popular filmic genre of the thirties and the forties at the national level. Has a cinematographer, he only did one film, A Canção de Lisboa (Lisbon Song), a canonical piece that reassured the politics and poetics of the ‘Portuguese city’ as a space of memory. But this work needs a careful scrutiny especially in a moment when conservative place politics awake mythic urban images and the symbolic strenghth of a landscape iconography engaged with the celebration of national and imperialistic claims for social order and cohesion. Based in a case 5 study which analyses the filmic document created by the architect as a flight from his apparently political commitments, this paper shows how Cottinelli developed the scenic utopias of a dictatorial regime engaged with the use of representational space for masking the unsolved social and economic problems which lead to a dramatic outbreak of migrations of the Portuguese population. At a superficial level, the film shows how Salazar’s urban pastoral recoined the city as
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