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Architectures of Revolt in the Series Urban Life, Landscape, and Policy, Edited by David Stradling, Larry Bennett, and Davarian Baldwin

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Architectures of Revolt in the Series Urban Life, Landscape, and Policy, Edited by David Stradling, Larry Bennett, and Davarian Baldwin Architectures of Revolt In the series Urban Life, Landscape, and Policy, edited by David Stradling, Larry Bennett, and Davarian Baldwin. Founding editor, Zane L. Miller. Maureen Donaghy, Democratizing Urban Development: Community Organizations for Housing across the United States and Brazil Maureen A. Flanagan, Constructing the Patriarchal City: Gender and the Built Environments of London, Dublin, Toronto, and Chicago, 1870s into the 1940s Harold L. Platt, Sinking Chicago: Climate Change and the Remaking of a Flood- Prone Environment Pamela Wilcox, Francis T. Cullen, and Ben Feldmeyer, Communities and Crime: An Enduring American Challenge J. Mark Souther, Believing in Cleveland: Managing Decline in “The Best Location in the Nation” Nathanael Lauster, The Death and Life of the Single-Family House: Lessons from Vancouver on Building a Livable City Aaron Cowan, A Nice Place to Visit: Tourism and Urban Revitalization in the Postwar Rustbelt Carolyn Gallaher, The Politics of Staying Put: Condo Conversion and Tenant Right-to-Buy in Washington, DC Evrick Brown and Timothy Shortell, eds., Walking in Cities: Quotidian Mobility as Urban Theory, Method, and Practice Michael T. Maly and Heather Dalmage, Vanishing Eden: White Construction of Memory, Meaning, and Identity in a Racially Changing City Harold L. Platt, Building the Urban Environment: Visions of the Organic City in the United States, Europe, and Latin America Kristin M. Szylvian, The Mutual Housing Experiment: New Deal Communities for the Urban Middle Class Kathryn Wilson, Ethnic Renewal in Philadelphia’s Chinatown: Space, Place, and Struggle Robert Gioielli, Environmental Activism and the Urban Crisis: Baltimore, St. Louis, Chicago Robert B. Fairbanks, The War on Slums in the Southwest: Public Housing and Slum Clearance in Texas, Arizona, and New Mexico, 1936–1965 Carlton Wade Basmajian, Atlanta Unbound: Enabling Sprawl through Policy and Planning A list of additional titles in this series appears at the back of this book Edited by Mark Shiel Architectures of Revolt The Cinematic City circa 1968 TEMPLE UNIVERSITY PRESS Philadelphia • Rome • Tokyo TEMPLE UNIVERSITY PRESS Philadelphia, Pennsylvania 19122 www.temple.edu/tempress Copyright © 2018 by Temple University—Of The Commonwealth System of Higher Education All rights reserved Published 2018 Cover photos from the film El grito (Leobardo López Arretche, Centro Universitario de Estudios Cinematográficos, UNAM, México, 1970). Copyright © 1970 by Universidad Nacional Autónoma de México. Used with permission of the Universidad Nacional Autónoma de México. Library of Congress Cataloging-in-Publication Data Names: Shiel, Mark, editor. Title: Architectures of revolt : the cinematic city circa 1968 / edited by Mark Shiel. Description: Philadelphia : Temple University Press, 2018. | Series: Urban life, landscape and policy | Includes index. Identifiers: LCCN 2017052255 (print) | LCCN 2017059926 (ebook) | ISBN 9781439910054 (E-book) | ISBN 9781439910030 (hardback : alk. paper) | ISBN 9781439910047 (paper : alk. paper) Subjects: LCSH: Cities and towns in motion pictures. | City planning. | Motion pictures—History—20th century. | BISAC: PERFORMING ARTS / Film & Video / History & Criticism. | ARCHITECTURE / Urban & Land Use Planning. Classification: LCC PN1995.9.C513 (ebook) | LCC PN1995.9.C513 A73 2018 (print) | DDC 791.43/621732—dc23 LC record available at https://lccn.loc.gov/2017052255 The paper used in this publication meets the requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992 Printed in the United States of America 9 8 7 6 5 4 3 2 1 This book is dedicated with love to Alyce, Anouk, and Adam. Contents List of Illustrations ix Acknowledgments xi Introduction: Cinema, Architecture, and Cities circa 1968 • Mark Shiel 1 1 The Cinétracts, Détournement, and Social Space in Paris • Jennifer Stob 35 2 Milan, the Cine City of 1968: Metamorphosis and Identity • Gaetana Marrone 66 3 Inextinguishable Fire—or How to Make a Film in Berlin in 1968 • Andrew J. Webber 91 4 Slouching toward Chicago in Search of Peace and Love: Medium Cool and Chicago 1968 • Jon Lewis 112 5 New York, 1968 • Stanley Corkin 141 6 “It’s a Big Garage.” Cinematic Images of Los Angeles circa 1968 • Mark Shiel 164 7 Cinema and the Mexico City of 1968 • Jesse Lerner 189 8 Tokyo 1969: Revolutionary Image-Thieves in the Disintegrating City • Stephen Barber 212 Contributors 229 Film Title Index 231 Subject Index 235 Illustrations I.1 Walter Cronkite broadcasts for CBS from Hue, Vietnam, during the Tet Offensive 6 I.2 Demonstrators protest charges against Jane Jacobs 23 I.3 Entrance of the École des beaux-arts, Paris 24 1.1 Selected frames from Cinétract 004 showing CRS riot police 49 1.2 Selected frames from Cinétract 003 commemorating the death of Gilles Tautin 50 1.3 Selected frames from Cinétract 018 showing a pro-Gaullist demonstration and anti-establishment graffiti 52 1.4 Selected frames from Filmtract 015 calling on the viewer to “regardez les choses en face” 54 2.1 The Guest and the mother in the garden of the Milanese villa in Teorema 72 2.2 The father and industrialist walks through the desert in Teorema 77 2.3 Tiresias and Antigone walk past dead bodies in the streets of Milan in I cannibali 80 2.4 Antigone is questioned by military police in I cannibali 84 3.1 Barbed wire protects the modernist office building of Axel Springer publishers in Berlin 94 3.2 The burning of skin in NOT Extinguishable Fire 100 3.3 Burning vans outside the Springer building in Break the Power of the Manipulators 106 4.1 Harold in Chicago’s Grant Park in Medium Cool 116 4.2 The squalor of Little Appalachia in Chicago in Medium Cool 121 4.3 Kids on the street in Bronzeville in Medium Cool 125 x Illustrations 4.4 White college students supporting Senator Robert Kennedy near the beginning of Medium Cool, and the Democratic National Convention later in the film 128 4.5 Location footage of real demonstrations and riots in Chicago from Medium Cool 129 5.1 The architecture of Columbia University in Columbia Revolt 147 5.2 The built environment of Manhattan in Midnight Cowboy 148 5.3 Two locations from Columbia Revolt 152 5.4 Selected New York locations in Greetings 156 6.1 “Diary of the French Revolt,” cover story in the Los Angeles Free Press 166 6.2 Demonstration, Century Plaza, 1967 171 6.3 Contra Costa College standing in for a Los Angeles university in Zabriskie Point 173 6.4 The Sunset Strip re-created in studio and shot on location in Riot on the Sunset Strip 175 6.5 The heavily commercialized streetscapes of Los Angeles in Model Shop 179 7.1 Front cover of the official Mexico 68 magazine, no. 31 198 7.2 Student life and student demonstrations in Mexico City as seen in El Grito 200 7.3 The prelude, events, and aftermath of the military massacre of demonstrators as depicted in El Grito 202 8.1 The fragmented urban space of Tokyo in Funeral Parade of Roses 221 8.2 The performative space of Tokyo’s Shinjuku district in Diary of a Shinjuku Thief 223 8.3 Street riots at the Shinjuku train station at night near the end of Diary of a Shinjuku Thief 224 Acknowledgments his book has been several years in gestation, so I welcome the opportu- nity to finally record my profound gratitude to Zane Miller, David Stra- Tdling, and Stanley Corkin, all of the University of Cincinnati, for first approaching me with the idea of publishing an edited collection on 1968 in cinema and urban history, and then for proposing the book to Temple Uni- versity Press. The first seeds of the book’s content came from a panel on the subject that I organized and chaired at the Society for Cinema and Media Studies conference in Philadelphia in 2008, and to which Ruben Gallo, Jon Lewis, and Jennifer Stob made fascinating contributions. Mick Gusinde- Duffy, who was then senior acquisitions editor at Temple University Press, welcomed the book proposal and saw it through its initial stages, and since then the project has been expertly managed by Temple’s editor-in-chief, Aaron Javsicas, to whom I’m also deeply grateful. Other Temple University Press staff helped chaperone the book through various maneuvers—thanks, therefore, to Gary Kramer, Micah Kleit, Nikki Miller, Katie Wertz, and Sara Cohen. The manuscript and my editing of it benefited from the wisdom and insight of Temple’s two anonymous readers, and from in-depth commentary and critique from Larry Bennett of De Paul University, Chicago. My home institution, the Department of Film Studies at King’s College London, provided valuable support of my research for the project and an always-stimulating intellectual environment, in which discussion often turned toward ’68— thank you especially to Rosalind Galt, Belen Vidal, and Michele Pierson, xii Acknowledgments and, in other departments at King’s, to Patrick Ffrench and David Treece. Parts of the arguments I make in my contributions to this book were tested out in lectures and conference presentations at several institutions, so I’m grateful to the colleagues who invited me to speak and the audiences who gave me useful feedback: thanks to Rebecca Farnum and Clare Herrick for the opportunity to address the Human Geography Seminar at King’s; to Adrian Parr, Jana Braziel, and Stanley Corkin at the Taft Research Center of the University of Cincinnati; to Mark Quigley and Jan-Christopher Horak at the University of California Los Angeles Film and Television Archive, and to Berit Hummel at the Center for Metropolitan Studies of the Technische Universität Berlin. The various contributors to the book have shown great commitment and tenacity during its long evolution, for which I owe them warm thanks in addition to my admiration of their scholarship.
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