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Upcoming Event: Passenger Films and Precarious Geographies present “Nightcrawler”

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Join us on Tuesday 19th of January for a screening and exploration of Dan Gilroy’s fascinating film ‘Nightcrawler’ presented by Passengerfilms in collaboration with ‘Precarious Geographies’ and Genesis Cinema.

Precarious Geographies and Passenger Films Present Nightcrawler Poster -page-001

Set in the hyper-precarious world of contemporary LA, Nightcrawler is a disturbing critique of the neoliberal urban condition. Its protagonist, Lou Bloom, is a young man frustrated by an impenetrable labour market in which even unpaid internships are inaccessible. Bloom embarks on a mission to make his own fortunes by forging a career in crime journalism. Lou’s willingness to cross boundaries others won’t in order to get the goriest footage means his career rapidly gains momentum. His merciless pursuit of uncomprehendingly brutal footage is met by both horror and admiration by TV stations. But this is not just a film about a sinister individual; Lou’s prioritisation of ambition and commercial success at the expense of compassion and humanity…

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Subverting the aesthetics of decay

Landscape Surgery

The aesthetics of decay have been well versed of late, not only within academic literature, but also mainstream media and online via blogs and other social media. We have seen an aquarium in an abandoned shopping mall in Bangkokentire disused airports in Cyprus and an whole abandoned island used in Hollywood blockbusters. Industrial, residential, infrastructural, rural; there have been a plethora of forms of dereliction that have been recorded. The huge swath of media (sometimes labelled ‘ruin porn’) has led to the fetishization of dereliction with some suggesting that such overt ruination imagery has had damaging effects on particular places that are oft the focus of such narratives, notably Detroit.

DSCF5059 Nature reclaiming her land

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Recently, I was lucky enough to spend some time in the Shropshire and Cheshire countryside, and came across what on first viewing looked like an abandoned…

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The Las Vegas Affect

Landscape Surgery

There has been a great deal of scorn poured on Las Vegas from the academy. From its low creative city ranking, its over-reliance on too narrow an industry base and its crippling ecological effects, Sin City has been attacked by urban, economic and environment geographers respectively. Baudrillard (1994: 91) has been equally as disparaging stating that the ‘liquidation’ of the mediated advertising architecture, and the “reabsorption of everything into the surface (whatever signs circulate there)… plunges us into this stupefied, hyperreal euphoria that we would not exchange for anything else, and that is the empty and inescapable form of seduction”. The city that seems to represent nothing but a simulacrum of itself and is awash with rampant hawkish capitalism, is designed in toto to rid you of as much financial, social and personal capital as is possible.

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Reflexive Creativity in Urban Politics?

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Montaigne Gallery, Shanghai

Many years ago I coined the phrase Urban Subversion that began as an interest in parkour as a creative act of urban re-appropriation. It soon became apparent as I looked for additional ways in which people were interacting with the city in novel and innovate ways, there was a small, but increasing swath of people who were actively reconfiguring their urban environment for sometimes playful, sometimes anti-hegemonic, and sometimes subversive, but always in creative and innovate ways. Nearly 5 years hence, Maria Daskalaki and I have (finally) managed to get the ideas and musings we had about Urban Subversions all those years ago published. In the intervening period, I have witnessed (first hand through my travels and via the relentless march toward information-domination of Twitter and social media) the boom of these kinds of creative engagements become popularised and in some cases, accepted as legitimate and formal urban development policies. The latest piece to confirm this was the ever-excellent PopUpCity claiming that local cultural and creative urban practices have ‘gone global’ (something which I championed last year).

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