As I’m currently finishing off my first monograph, it’s customary of course to (re)read some of the great texts that formulated the ideas of the book in the first place. So I thought I’d start a blog series that block quoted some of the prose that has inspired/is inspiring the book writing. They won’t be in the final edit, but are worthy of note given their foundational status to the ideas of the book. So to start off, a piece from De Certeau’s classic, Walking in the City (the full pdf of which can be found here):
“It is true that the operations of walking on can be traced on city maps in such a way as to transcribe their paths (here well-trodden, there very faint) and their trajectories (going this way and that). But these thick or thin curves only refer, like words, to the absence of what has passed by. Surveys of routes miss what was: the act of passing by. The operation of walking, ‘wandering or window shopping’, that is, the activity of the passer-by, is transformed into points that draw a totalizing and reversible line on a map. They allow us to grasp only a relic set in the nowhen of a surface of projection. Itself visible, it has the effect of making invisible the operation that made it possible. These fixations constitute procedures for forgetting. The trace left behind is substituted for the practice. It exhibits the (voracious) property that the geographical system has of being able to transform action into legibility, but in doing so, it causes a way of being in the world to be forgotten”. (De Certeau 1984: 161).
Who Framed Roger Rabbit? (1988) is no doubt a classic film. It was technologically innovate, and spliced the detective film-noir genre with the comic, slapstick animation of classic ‘toons of the 1960s and 70s. Truly, a masterpiece of Hollywood cinema, and if you are not familiar with the film, you can read a great review of it here. One aspect though that often goes unnoticed is the urbanist narrative that runs through the film’s plot. It is set in 1947, and essentially, ‘Judge Doom’, the evil protagonist of the film, is plotting to destroy ‘Toontown’ (the suburb of Los Angeles where the animated characters live) and replace with a freeway. The film therefore is very much a critique on the ‘freeway-ization’ of LA, with overt glorification of the city’s transit-orientated past. Such a mantra is signposted early on in the film with the main hero ‘Eddie’ sitting on the back of a trolley car proclaiming, “Who needs a car in L.A.? We got the best public transportation system in the world!”
In his famous villain’s speech where he reveals his dastardly plan to the heroes, he claims that the freeways will revolutionise LA, and create a vast automobile-based city that will “be beautiful”. You can see his speech in the video below.
This short segment highlights one the film’s most overt social critiques, namely that of the automobile dominated city that Los Angeles had become in 1988, and still is to this day (relatedly, you can read about my day-long trip around LA by car in search of the film locations of The Terminator films here, and my ode to UK motorways here). With this narrative in mind, it becomes extremely obvious that ‘Judge Doom’ and Toontown are simply comic metaphors for the classic urbanism argument of ‘walkability’, most readily articulated by the battle between Robert Moses and Jane Jacobs. Continue reading
The show currently on BBC2, Mind the Gap, is well worth a watch as it covers many of themes that are important to modern urban geographical studies (you can watch it on the iPlayer, but only till 17th March), notably those being taught at undergradute level, not least by me for GG2053. The first episode ‘London and the Rest’, offered a useful insight into why London is a Global City, and what this means not only for the population of London, but for the rest of the UK and indeed the world. However, despite it’s rather glossy veneer and The Apprentice-style, helicopter, Gods-eye-view aesthetics that is so ubiquitous within mainstream documentaries, the program masked just as many important issues as it did illuminate. It failed to launch the visceral critique that its presenter threatened to do at times (his conservative approach masked an obvious desire to launch a tirade against this gargantuan urban behemoth), and in so doing presented a rather polemic, but no less informative pointer to why London has become the teeming Global City it is today. So I want to map out (using the traditional scalar model for clarity’s sake) a few points of departure from the episode that will help contextualise it in the wider relevant debates about contemporary urban studies.
Recently, I was involved in a Twitter conversation with Allan Watson (and others) on a recent debate he had in his class about a zombie invasion, and whether it would be better for survival to live in a sprawling city or a dense urban centre (and what a great way to engender such a debate by the way!) I then took to Google to find this article, about a concerned citizen of Edmonton in Canada, who has argued that a dense urban centre would be easier to defend against a rampaging horde of brain-munching zombies than a sprawling megalopolis. Zombies love sprawl, apparently. As well as being a brilliant way to engage students about urban geography, I want to consider three of the more famous zombie films that take place in urban areas, and see what conclusions about sprawl versus density (and indeed, the broader urban condition under late capitalism) can drawn from them. So here goes… Continue reading
I’ve recently moved. I moved from a small flat to a house to accommodate a growing family, but in order to afford to do so, we had to move out of the area we were in, to a smaller town/village nearby that has a large traveller community, a significant Nepalese diaspora and soon to be homeless service men and women once the neighbouring barracks are torn down and replaced with mock town housing. As an urban geographer I’d like to think that I’m aware of some of the nuances of urban processes including gentrification, and as such, I was acutely aware that, as a middle class, white collar academic from the heartland of Surrey, I was potentially a gentrifier of the area. In upsizing for a growing family, my situation is typical of a myriad of academics who find themselves looking for alternative accommodation on an (often) meagre income, and as a result, looking in more diverse areas of ethnic communities and/or lower social-economic class.
It seems a day does not pass without a new professional time lapse film of a city landing in my Google Rea…, Feedly or twitter stream. They all seem to follow a similar pattern; they’re shot at night and from an elevated position perhaps with a slow pan; they contain a collection of shooting angles that span highways, bridges or capture the throng of a pedestrian-heavy zone; some will have the seemingly ubiquitous (and simply annoying) tilt-shift effect (which seems to make everything look miniature) perhaps added to increase the visual metaphor of the ‘God’s eye view’ of the city engendered by such films (a good list of the best ones can be found here). Some of my particular favourites are from Dubai, Sydney, Melbourne, Quito and this rather Miévillian offering of New York. Time lapse films represent the vibrancy, complexity and gleaming aesthetics of urban life, or at least a particular kind of urban life. For me though, the increasing proliferation and professionalisation of these films is an interesting trend because it could be seen to represent a number of cross-cutting contexts and themes that have been debated in contemporary urban geography discourse of late, but also, the time lapse video could be viewed as part of urban entrepreneurial strategy. Continue reading