While film studies has traditionally treated the presence of the
city in film as an urban text operating inside of a cinematic one,
this approach has recently evolved into the study of cinema as a
technology of place. From this perspective, Documenting Cityscapes
explores the way the city has been depicted by nonfiction
filmmakers since the late 1970s, paying particular attention to
three aesthetic tendencies: documentary landscaping, urban
self-portraits, and metafilmic strategies. Through the formal
analysis of fifteen works from six different countries, this volume
investigates how the rise of subjectivity has helped to develop a
kind of gaze that is closer to citizens than to the institutions
and corporations responsible for recent major transformations.
Documenting Cityscapes therefore reveals the extent to which cinema
has become an agent of urban change, in which certain films not
only challenge the most controversial policies of late capitalism
but also are able to produce spatiality themselves.
General
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