How are the political possibilities of film related to urban space?
What are the ethical implications of representing urban space on
film? How does the use of urban space help to theorise film?
Film and Urban Space: Critical Possibilities traces recurring
debates about what constitutes film's political potential and
argues that the relation between film and urban space has been
crucial to these debates and their historical transformations. The
book demonstrates that in the attempt to follow certain
prescriptions - shooting on location, disrupting normalizing time,
experimenting with memory, interlinking the spaces of screen and
cinema - films invariably use the relation between film and urban
space as a kind of laboratory, testing anew received prescriptions
but invariably encountering new opportunities and new limits. A
wide range of key films, from Dziga Vertov's 1928 Man with a Movie
Camera to Jia Zhangke's 2008 24 City, are discussed in depth, each
offering an argument for how the encounter between specific
manifestations of modern urban space and politically engaged film
strategies has served to challenge the status quo and stimulate
critical thinking.
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