a journal of cities and culture
Anna Viola Sborgi considers how recent documentary films reconfigure porosity as permeability, and reflects on questions of social inclusion in the city under lockdown.
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Erin Schlumpf thinks through the spatial politics of slow cinema and orders to shelter in place.
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Annie Dell’Aria discusses screen media’s potential to make both public space and private space—during times of social distancing—more porous.
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Carrie Rentschler explores urban porosity via a feminist infrastructural focus on key points of transfer and transit in the city that activists target for change using a range of aesthetic and political strategies
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Sabine Haenni’s introduction to the second round explores pores as media, biology, and as form.
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Hai Ren rethinks the creative city away from its anthropocentricism and toward a nonhuman art intelligence
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Filmmaker Ariel Nasr explains the premises and production history of The Forbidden Reel, a documentary about the Afghan film archive reflecting the social-political structures of Afghanistan and its capital Kabul.
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In this installment of the Mediapolis Q&A, Angelo Restivo interviews Ofer Eliaz about his new book Cinematic Cryptonomies: The Absent Body in Postwar Film.
Nathan Holmes discusses his new book Welcome to Fear City: Crime Film, Crisis, and the Urban Imagination with Mediapolis Reviews Editor Noelle Griffis.
Alexander Davis interviews Joshua Glick about his new book, which rethinks Los Angeles as a center of documentary production
Our Mediapolis Live series continues with part two of an interview with Dora Apel, author of “Beautiful Terrible Ruins: Detroit and the Anxiety of Decline.” Here, she and Mediapolis co-editor Brendan Kredell discuss the legacies of Henry Ford and Coleman Young in contemporary Detroit, and the critique of “creative class” urban planning.
Our Mediapolis Live series continues with an interview with Dora Apel, author of “Beautiful Terrible Ruins: Detroit and the Anxiety of Decline.” In the first of a two-part series, co-editor Brendan Kredell discusses with Apel her notion of the “deindustrial sublime” and the nomenclature of ruin photography.
