The city has long been an important location for film-makers.
Visually compelling and always "modern," it is the perfect metaphor
for man's place in the contemporary world.
In this provocative collection of essays, a diverse range of films
are examined in terms of the relationship between cinema and
paradigmatic urban experience in Europe and North America since the
early twentieth century. Moscow, Leningrad, Berlin, Prague and
Warsaw--sites of dramatic upheaval in the 1920s-1930s, and again in
the 1970s-1980s--feature strongly in the first part of the book. In
the cinematic representation of these cities, modernist
experimentation combined with social and political change to
produce such memorable films as "The Man with the Movie Camera," "
Berlin: The Symphony of a Great City," " Berlin Alexanderplatz"
and, more recently, the work of Krzysztof Kieslowski, Jan
svankmajer and the Brothers Quay. The different but comparable
space of the North American city since World War Two provides the
primary focus for the second part of the book. Here, New York, Los
Angeles, Chicago, San Francisco and Toronto provide the settings
for an investigation of the relationship between cinema and race,
and cinema and postmodern global capitalism, in a comprehensive
range of films from "Point Blank," " Medium Cool," " Network "and"
Annie Hall "in the 1960s and 1970s, to "Boyz N the Hood," " Falling
Down," " Pulp Fiction," " Safe]," " Crash "and" The End of
Violence" in the 1990s.
Throughout the book, the cinema's artistic encounter with the city
always intersects with a social and political engagement in which
urgent issues of class, race, sexuality, the environment, liberty,
capital, and totalitarianism are everywhere at stake.
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