Just a quick post to point you toward my review of Ridley Scott’s masterpiece Blade Runner over on That Film Guy. I’ve been using that site to vent my film fanboy amateurish tirades and this certainly falls into that category. Hopefully, now that the marking has died down, I’ll be able to get a few more reviews on there so keep your eyes peeled – and those Royal Holloway students taking GG2061 next year might also want to pay extra attention…
Los Angeles is one of the most written about cities in the world, particularly from an urban geography perspective. Perhaps because of its magnificent sprawl, its constant mediation through film, television, music and other cultural artefacts, or its postmodern-inflected anti-liveable layout, no other city in the popular consciousness has such an imaginary that combines enigma, fascination, frustration, confusion and awe all at once (although I suspect that Shanghai, Mexico City and perhaps Johannesburg are giving it a run for its money). One of the major reasons for my fascination with it is the way it has been so scrutinised through film. Masterpieces such as Pulp Fiction, Timecode and Collateral portray the de-centred, fragmented, multiple, nonlinear and alienating characteristics of the city fascinatingly. However, for me the Terminator films (and here I refer to the first two, not the bilious and soul-destroying detritus of Terminator 3 and Terminator Salvation) put Los Angeles firmly in my minds eye as a city of fascination and wonder. The films themselves do not necessarily have a narrative that ‘gets’ LA’s character, but Cameron has utilised the cityscape as a platform for thrilling action and compelling story-telling perfectly. Continue reading
A quick post to let you know about some other bits and pieces that I’ve been penning around the Interweb and beyond.
First, having spent all too-brief a time in Shanghai last year I felt the best way to experience it was to take my camera and just start walking (in true De Certeauian style). One of the ‘threads’ that can be extricated involved creativity (what else?), and hence that is the theme of my piece for the excellent ThisBigCity blog – Creative Shanghai. It’s available in Traditional Chinese too.
Also, given that I watch too many films as it is, I thought the best way to make it a productive exercise (sorry, what was that? Impact?) was to start reviewing them. So I asked the lovely ThatFilmGuy if he’d let me be a regular contributor, and for some reason, he said yes, with my page here. The upshot of this is the occasional film screening, which is great, as it makes me feel like a proper film critic (even though clearly, I’m not). The recent review of Flight got some attention too if anyone managed to catch the TV advert for it recently.
Then, there is the Urban Subversions paper that was published in the International Journal of Urban and Regional Research, co-authored with Maria Daskalaki. This has been a major oeuvre for us two, taken as it has over 4 years to get published. If you want the pdf copy, feel free to email me and I’ll hurry you a copy.
Finally, there are some book chapters coming out on Media Cities and the Cultural Dimensions to Global Cities, which have actually been more enjoyable to write than some journal papers (why is that writing enjoyment is inversely proportional to REFability?), and the Cultural Quarter work is finally working it’s way through to publication. Again, if you want any of these articles, just let me know.
Verticality, claustrophobia, lawlessness, poverty. Just some of the themes that are stereotypically associated with tower block living, particular the old post-war brutalist, Le Corbusier-inspired monoliths that litter many cities not just here in the UK, but all over the world. Their architectural designs were meant to be liveable ‘streets in the sky’ but instead ended up resulting in lonely living, but with a panoptic overview of constant voyeurism from everyone else. The dystopic qualities are depressing and oppressive in equal measure, and as such make for fascinating arenas for cinematic narratives. The recent mini-wave of films set entirely in one tower block is evidence of this. The Raid, Dredd and Tower Block have all been released in recent months, and who can forgot John McClean in Nokatomi – all very good films in their own genre. What is it about these gargantuan concrete leviathans that make for such gripping viewing? This post tries to find out… Continue reading
I finally got round to seeing The Dark Knight Rises at the weekend. Don’t worry, this is not a review; but what struck me throughout the film (and in a sense, throughout the trilogy), is the narrative surrounding the city of Gotham itself, and how the director Christopher Nolan used it, for me, incorrectly. There a number of pieces of work (notably this one) about Gotham’s role in the Batman universe – the dank, dark, overtly gothic and crime-ridden city makes for a fantastic fictional playground of urban dystopias. However, for the purposes of this post, I will be referring to the Gotham seen in Nolan’s trilogy. Continue reading
There’s been somewhat of a feeding frenzy in the media today regarding the infiltration of the Shard by Bradley Garrett and others. Bradley posted the images of his climb to the top of Europe’s new tallest building on his blog and soon after, the media caught wind of them and used them to fill out their bilious pages with striking images that no photographer working for any paper would be able to achieve ever. The media coverage of this event has been, for me, unsurprising given the enormity of what Bradley’s actions do to the collective psyche of the public writ large. Whatever people feel about his actions (I happen to think they should be highly commended and applauded), the infiltration of the Shard is a philosophical Event par excellence. Let me explain why (warning – philosophical ramblings ahead). Continue reading
16th of March, 1972 at 3.00pm precisely. That is when Charles Jencks proclaimed ‘the death of modenism’, as the Pruitt-Igoe housing estate in St. Louis was razed to the ground. Many commentators of architecture and city living in general claimed it was the representative ‘end’ of the Cities of the Future which were based on the Le Courbusierian ‘Machines for Living’ – the modernist utopian dream lay in ruins on the Missourian soil. It was with its iconic (dis)appearance is the beautifully esoteric film Koyaanisqatsi (1982), that the Pruitt-Igoe complex symbolised more than simply a disastrous 1950s housing policy, but a retraction of an entire philosophy for life. The Sassurian structuralist mode of thought that had influenced the modernist agenda of architecture and urban planning had given way to the heterogeneity of urban life, the ebb and flow of a Lefebvrian rhythm which was essentially un-containable by these ‘streets in the sky’. Pruitt-Igoe as the symbol of the beginning of ‘post-modernism’ is now well versed, and is part of cultural geography modules up and down the land (including, I hasten to add, my own). Continue reading