Cine-scapes


Book Description

Cine-scapes ignites new ways of seeing, thinking and debating the nature of architecture and urban spaces.Drawing on the author's extensive knowledge it: offers insight into architecture and urban debates through the eyes of a practitioner working in the fields of film and architectural design emphasizes how filmic/cinematic tendencies take place or find their way into urban practices can be used as a tool for educators, students and practitioners in architecture and urban design to communicate and discuss design issues with regard to contemporary architecture and cities




Space and Time in African Cinema and Cine-scapes


Book Description

This book is the first of its kind to bring basic notions of contemporary physics to bear on African cine-scapes. In this book, renowned African cinema scholar Kenneth W. Harrow presents unique new ways to think about space and time in film, with a specific focus on African and African diasporic cinema. Through a series of case studies, he explores how cinema creates and represents time and space and, more specifically, how a cinema centered in African landscapes and figures accomplishes this. He reflects on the issues and problems posed by scientists when faced with the basic questions of what space and time are and their solutions or conclusions, giving both film studies and African studies scholars access to new ways to formulate their thinking about African cine-scapes. Working beyond the limits of a framework based in a postcolonial and cultural understanding of time and space, Harrow demonstrates how a scientific understanding of time and space can open up new approaches to African cinema and cinema in general. A unique, interdisciplinary book that encourages brand new ways to approach cinematic texts and, specifically, African cine-scapes.




Decline and Reimagination in Cinematic New York


Book Description

Decline and Reimagination in Cinematic New York examines the cinematic representation of New York from the mid-1960s through the mid-1980s, placing the dominant discourse of urban decline in dialogue with marginal perspectives that reimagine the city along alternative paths as a resilient, adaptive, and endlessly inspiring place. Drawing on mainstream, independent, documentary, and experimental films, the book offers a multifaceted account of the power of film to imagine the city’s decline and reimagine its potential. The book analyzes how filmmakers mobilized derelict space and various articulations of “nature” as settings and signifiers that decenter traditional understandings of the city to represent New York alternately as a desolate wasteland, a hostile wilderness, a refuge and playground for outcasts, a home to resilient and resourceful communities, a studio for artistic experimentation, an arcadia conducive to alternative social arrangements, and a complex ecosystem. This book will be of interest to scholars and students of film studies, media studies, urban cinema, urban studies, and eco-cinema.




Digital Space and Embodiment in Contemporary Cinema


Book Description

Digital Space and Embodiment in Contemporary Cinema examines how contemporary cinema has represented and engaged with the experience of simultaneously inhabiting digital and material spaces (i.e. "composite spaces") in the context of the growing ubiquitousness of digital media and culture. Bringing together a range of key cinematic texts, the book examines how these films represent "composite space" by depicting—often subtly and without explicit reference to technology—what it feels like to live in a world of ubiquitous digital media. The book explores composite spaces through the striking use of elements like colour, symbolic graphics, and music and covers topics like: music as mediator between levels of experience/perception in visionary films such as Sucker Punch (2011) and Spring Breakers (2012); digital colour as an interface in films including Under the Skin (2013); the integration of digital graphical elements drawn from game spaces into material spaces in films such as Scott Pilgrim vs The World (2010) and Nerve (2016); and films that take place on a computer screen including 2020’s widely discussed, Zoom-produced pandemic horror film Host. Through the close analysis of these films, the book offers fresh perspectives on conceptual issues of embodiment, digital agency, and subjectivity. This book is a valuable resource for advanced undergraduates, postgraduates, and scholars in the fields of film studies, digital aesthetics and film theory, digital culture, and digital media.




Mood and Mobility


Book Description

An argument that as we engage with social media on our digital devices we receive, modify, intensify, and transmit moods. We are active with our mobile devices; we play games, watch films, listen to music, check social media, and tap screens and keyboards while we are on the move. In Mood and Mobility, Richard Coyne argues that not only do we communicate, process information, and entertain ourselves through devices and social media; we also receive, modify, intensify, and transmit moods. Designers, practitioners, educators, researchers, and users should pay more attention to the moods created around our smartphones, tablets, and laptops. Drawing on research from a range of disciplines, including experimental psychology, phenomenology, cultural theory, and architecture, Coyne shows that users of social media are not simply passive receivers of moods; they are complicit in making moods. Devoting each chapter to a particular mood—from curiosity and pleasure to anxiety and melancholy—Coyne shows that devices and technologies do affect people's moods, although not always directly. He shows that mood effects are transitional; different moods suit different occasions, and derive character from emotional shifts. Furthermore, moods are active; we enlist all the resources of human sociability to create moods. And finally, the discourse about mood is deeply reflexive; in a kind of meta-moodiness, we talk about our moods and have feelings about them. Mood, in Coyne's distinctive telling, provides a new way to look at the ever-changing world of ubiquitous digital technologies.




Urban Arabesques


Book Description

Urban Arabesques examines philosophy as an event of the city and the city as an event of philosophy and how the intertwining of the two generates an urban imaginary. This critique-in-motion of creative figures and conceptual personae from (non) philosophy illuminates the emergence of sense in the city, shows how “transcendental empiricism” operates within it, and how the everyday life of the streets—the ordinariness of experience as well as the screen/projector of urban surfaces—uncovers new pathways for politics, experience, and relationalities. Using Hong Kong as the primary site of thinking yet recognizing that thinking incessantly moves beyond any particular location, the book opens up cities within the city. Traversing Hong Kong reveals how the corners, the money, the trees and the water are involved in philosophy. Combining the linguistic approach found in Heidegger and Derrida, with the more materialist analysis of Serres and Deleuze, the objective of this book is to retheorize the urban and its imaginary—its virtuality, irreality, phantasmicity—with an emphasis on signs, images and rhythms, resonating through philosophy, and beyond.




The City and the Moving Image


Book Description

This edited collection explores the relationship between urban space, architecture and the moving image. Drawing on interdisciplinary approaches to film and moving image practices, the book explores the recent developments in research on film and urban landscapes, pointing towards new theoretical and methodological frameworks for discussion.




Singapore Cinema


Book Description

This book outlines and discusses the very wide range of cinema which is to be found in Singapore. Although Singapore cinema is a relatively small industry, and relatively new, it has nevertheless made an impact, and continues to develop in interesting ways. The book shows that although Singapore cinema is often seen as part of diasporic Chinese cinema, it is in fact much more than this, with strong connections to Malay cinema and the cinemas of other Southeast Asian nations. Moreover, the themes and subjects covered by Singapore cinema are very wide, ranging from conformity to the regime and Singapore’s national outlook, with undesirable subjects overlooked or erased, to the sympathetic depiction of minorities and an outlook which is at odds with the official outlook. The book will be useful to readers coming new to the subject and wanting a concise overview, while at the same time the book puts forward many new research findings and much new thinking.




African Cinema in a Global Age


Book Description

This book traces the developments in African films that were made from the 1990s to the present within the evolving frame of what came to be called ‘World Cinema’ and, eventually, ‘Global Cinema.’ Kenneth W. Harrow explores how, from the time video and then digital technologies were introduced in the 1990s, and then again, when streaming platforms assumed major roles in producing and distributing film between the 2010s and 2020s, African cinema underwent enormous changes. He highlights how the introduction of the continent’s first successful commercial cinema, Nollywood, shifted the focus from engagé films, with social or political messages, to entertainment movies, but also auteur cinema. Harrow explores how this transformation liberated African filmmakers and resulted in an incredible, enduring flow of creative, inventive, and thoughtful filmmaking. This book presents a number of those critical films that mark that trajectory, projecting a new sense of African film spaces and temporalities, while also highlighting how African films continue to find independent pathways. This book will be of interest to students and scholars of African cinema and world cinema, as well as researchers specifically examining African cinemas and their relationship to globalization.




Neorealist Architecture


Book Description

***Winner of the American Association for Italian Studies Book Prize 2022*** After World War II, a wave of Italian films emerged that depicted the life and hardships of characters left helpless after the conflict, bringing to the screen the struggles of a time of existential angst and uncertainty. This form of filmmaking was associated with a broader artistic phenomenon known as ‘neorealism’ and is now considered a pivotal point in the history of Italian cinema. But neorealism was not limited to film any more than it was to literature. It spread to other areas of artistic production, including architecture. What was, then, neorealist architecture? This book explores the links between architecture, filmmaking and the built environment in dopoguerra Italy (194X–195X) seeking to ascertain whether, and how, neorealism manifested itself in architecture. Terms such as ‘neorealist architecture’ or ‘architectural neorealism’ were hinted at in these years and recalled by historians of architecture in the following decades. Therefore, the concept was adopted ad hoc and popularized post hoc, in the absence of any declarations prior to 1955 that proclaimed what neorealism in architecture was or wanted to be. However, while the concept has been internalized by Italian architectural history, transfers between neorealism—as an aesthetic and ethic—and architecture—as one potential medium of its embodiment or expression—are still not fully understood. Therefore, its main goal is to provide an in-depth discussion of the concept ‘neorealist architecture’, the working assumption being that the connection between both terms is not meaningless. The book is beautifully illustrated with over 100 black and white archival images and is the first book to be published on neorealism in architecture. It will appeal to scholars, professionals, and students interested in history and theory of architecture, Italian studies, art history, and cultural studies.