a journal of cities and culture
Large 21st century conferences, such as ICA 2016 in Fukuoka, evoke the impressive growth and diversification of academia within, between, and across disciplines. Yet their “poison”, if you will, is that they are so very large and up-scaled: potentially alienating; and clearly struggling with logistical complexity.
Queer public spaces are zones of intimacy and possibility. They spatialize desire in ways that foster new modes of being and wanting. When I read about the June 12, 2016 shooting at Pulse in Orlando, I saw with new clarity how the public spaces in which I have felt most fully alive can so quickly be obliterated.
Over the River allows the user to experience the recently vanished landscape of Hunter’s Point South, across from the Manhattan skyline. VR is employed to invoke empathy for a place, which takes on a political importance.
Amy Corbin reviews Matthew Asprey Gear’s At the End of the Street in Shadow, which examines Orson Welles’s use of location shooting and geographic themes
Malini Guha remembers Doreen Massey, and explores how Massey’s contention that the politics of space is the politics of difference resonated throughout her career, her activism, and her impact on geography and film studies
The Global Cinematic City contributors consider the place of cinema and the concept of the cinematic city as the urban is increasingly informed by new forms of media, and how best to continue to think about the cinema and the city
Our Global Cinematic Cities contributors concentrate on the political implications of their topic, and look at the gaps left when approaching space through media
In this introduction to our Q&A on the edited volume Global Cinematic Cities, editors Lawrence Webb and Johan Andersson talk about their project and the questions they asked their contributors in light of the instability surrounding both global cities and cinematic cities.
In this installment of Q&A, the Global Cinematic Cities contributors explore how spatial perspectives encourage various “refocusings” of our critical lenses to open new facets of the relationship between media and the urbab, as well as the definition of each.
