Mark Shiel considers some historical precedents for the current moment.
Stan Corkin discusses Trump’s affinity with televisuality and the dangers of the reality effect.
Caitlin Bruce identifies the polyrhythmic nature of the city as a potent model for resistance to the Trump administration’s tactics, and to anti-urban representations of the city as population instead of populace.
Sabine Haenni fills in the “points of warmth” on her migration map with examples of local resistance and local cinemas.
Johan Andersson considers the relationship between Trump’s rhetoric and the anti-urban themes of the contemporary war film.
Managing Editors Erica Stein and Brendan Kredell kick off the second phase of From the Editors’ Desk by asking what role media and the city can play in an effective response to the rapid pace of change.
Dennis Hanlon and Amy Tibbitts discuss how they managed issues connected to team teaching, interdisciplinary topics, and diversely prepared student populations in their class on Spanish and Argentine cinemas of the economic crisis.Read More
Christopher Holliday reports on the recent Cities in Crisis symposium held at King’s College London.Read More
In the latest installment in our Deep Dives series, Helen Morgan Parmett and Kate Ranachan explore the sports-centered redevelopment and rebranding of Seattle’s SoDo neighborhood.Read More
Martha Shearer sits down with Mediapolis to discuss her new book on the history of New York City musicals.Read More
In this final response, James Gilmore suggests that the vastness of the superhero genre defies generalizations and instead requires scholars to take situated “entry points” to the genre.
Lorrie Palmer follows Agent Carter off the grid in her discussion of the second season’s unruly spaces and unruly women.
Laura Felschow analyzes Marvel’s expansion of authenticity to the international in world building and marketing.
In the first response, Matt Yockey argues Marvel links the superhero to the urban, and to New York City in particular, through affect-inducing strategies that belie both Marvel’s, and the city’s, “ever upward” aspirations.
In this roundtable redirect, Erica Stein questions what it means for Marvel to image its authenticity in and through New York City. She asks us to consider how Marvel’s dispersed and globalized industrial spatiality complicates and interacts with its proclivity for filming (and filming in) New York.
Netflix’s Marvel line-up of shows are transmediated texts that encourage us to ponder whose bodies matter, and how they matter, in the contemporary city.