This book proposes new methodological tools and approaches in order to tease out and elicit the different facets of urban fragmentation through the medium of cinema and the moving image, as a contribution to our understanding of cities and their topographies. In doing so it makes a significant contribution to the literature in the growing field of cartographic cinema and urban cinematics, by charting the many trajectories and points of contact between film and its topographical context. Under the influence of new technologies, the opening and the availability of previously unexplored archives but also the contribution of new scholars with novel approaches in addition to new work by experienced academics, Cinematic Urban Geographies demonstrates how we can reread the cinematic past with a view to construct the urban present and anticipate its future.

Cinema and audiovisual media are integral to the culture, economy and social experience of the contemporary global city. But how has the relationship between cinema and the urban environment evolved in the era of digital technology, new media and globalization? And what are the critical tools and concepts with which we can grasp this vital interconnection between space and screen, viewer and built environment? Engaging with a rapidly transforming urban world, the contributions to this collection rethink the 'cinematic city' at a global scale. By presenting a global constellation of screen cities within one volume, the book encourages juxtapositions and comparisons across the North and South to capture the global city and its dynamics of exchange, hybridity, and circulation. The contributions examine film and screen cultures in a range of locations spanning five continents: Antibes, Beijing, Buenos Aires, Busan, Cairo, Caracas, Copenhagen, Jakarta, Kolkata, Lagos, Los Angeles, Malmö, Manila, Mumbai, Nairobi, Paris, Seoul, Sète, and Shanghai. The chapters address topics that range across the contemporary film and media landscape, from popular cinema, art cinema, and film festivals to serial television, public screens, multimedia installations, and video art. Contributors: Chris Berry, Yomi Braester, Jinhee Choi, Pei-Sze Chow, Thomas Elsaesser, Malini Guha, Jonathan Haynes, Will Higbee, Igor Krstic, Christian B. Long, Joanna Page, Lawrence Webb.

3llustrated throughout with movie stills, a diverse selection of films, genres, cities and historical periods are examined by leading names in the field to offer an innovative insight into the interconnection of city and screenscapes.

Exploration, intertwined with home-seeking, has always defined America. Corbin argues that films about significant cultural landscapes in America evoke a sense of travel for their viewers. These virtual travel experiences from the mid-1970s through the 1990s built a societal map of "popular multiculturalism" through a movie-going experience.

Drawing on multi-disciplinary debates surrounding the cultural production of place, space and memory in the post-industrial city, this study explores the role of moving images in representations and perceptions of everyday urban landscapes. It uses a unique spatial database of over 1700 archive films of Liverpool from 1897 to the present day.

Films about cities abound. They provide fantasies for those who recognize their city and those for whom the city is a faraway dream or nightmare. How does cinema rework city planners’ hopes and city dwellers’ fears of modern urbanism? Can an analysis of city films answer some of the questions posed in urban studies? What kinds of vision for the future and images of the past do city films offer? What are the changes that city films have undergone? Cities and Cinema puts urban theory and cinema studies in dialogue. The book’s first section analyzes three important genres of city films that follow in historical sequence, each associated with a particular city, moving from the city film of the Weimar Republic to the film noir associated with Los Angeles and the image of Paris in the cinema of the French New Wave. The second section discusses socio-historical themes of urban studies, beginning with the relationship of film industries and individual cities, continuing with the portrayal of war torn and divided cities, and ending with the cinematic expression of utopia and dystopia in urban science fiction. The last section negotiates the question of identity and place in a global world, moving from the portrayal of ghettos and barrios to the city as a setting for gay and lesbian desire, to end with the representation of the global city in transnational cinematic practices. The book suggests that modernity links urbanism and cinema. It accounts for the significant changes that city film has undergone through processes of globalization, during which the city has developed from an icon in national cinema to a privileged site for transnational cinematic practices. It is a key text for students and researchers of film studies, urban studies and cultural studies.

The second edition of Cities and Cinema provides an updated survey of films about cities, from their significance for modernity at the beginning of the twentieth century to the contemporary relationship between virtual reality and urban space. The book demonstrates the importance of the filmic depiction of capitals for national cinemas in the twentieth century and analyzes the transnational transfer of cinematic images surrounding global cities in the twenty-first century. Cities and Cinema covers the different facets of the cinematic depiction of cities. It rehearses distinct methodologies and offers a survey of the history of the cinematic city. The book also deepens our understanding of tropes and narrative conventions that shape films about urban settings and that reflect the transformation of cities throughout the twentieth and twenty-first centuries. Beginning with a discussion of the Weimar “street film,” it analyzes how the city film defined modernity. The book outlines the sociological context and the aesthetic features of so-called film noir, made in 1940s Hollywood and depicting Los Angeles. Paris became the site for the development of auteur cinema, which repeatedly depicts characters moving through the city. Tokyo took up noir to signal modern crime. The volume delineates how filmic genres, such as science fiction, comment on the present by imagining future forms of urban living. After analyzing how cinema captures the relationship between sexual identity and urban anonymity, migration and urban space, and marginalized ethnic and sexual identity in ghetto films, the book emphasizes transnational dynamics and global cities in the twenty-first century. Its conclusion points to the increasing virtual mediation of cities with new media. Cities and Cinema offers a historical overview of the development of films about cities and a theoretical approach to the intersection of urban studies and film studies. This title is designed as a textbook primarily for second-year undergraduate students in Film/Media studies, Urban studies, as well as Geography and Planning.