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The city seen: Cinematic representat...

Arnwine, Clark.

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The city seen: Cinematic representation of urban space.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The city seen: Cinematic representation of urban space./
作者:	Arnwine, Clark.
面頁冊數:	279 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4244.
Contained By:	Dissertation Abstracts International64-12A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3116658

The city seen: Cinematic representation of urban space.
Arnwine, Clark.

The city seen: Cinematic representation of urban space. - 279 p.

Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4244.

Thesis (Ph.D.)--University of Southern California, 2003.

This work explores issues around the intersection of urban space and cinematic representation. A starting point considers how film as a medium represents the dynamic, topographical nature of the urban built environment, especially in the case of the location film as opposed to the urban milieu created on a backlot or sound stage. Basic properties of the medium are examined, beginning with an historical context that starts with the earliest urban-based films such as the Paper Print records of early twentieth century New York, as well as other films that exemplify different approaches to using existing urban environments as raw material for cinematic production.Subjects--Topical Terms:

854529
Cinema.

The city seen: Cinematic representation of urban space.
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500 $a Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4244.
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502 $a Thesis (Ph.D.)--University of Southern California, 2003.
520 $a This work explores issues around the intersection of urban space and cinematic representation. A starting point considers how film as a medium represents the dynamic, topographical nature of the urban built environment, especially in the case of the location film as opposed to the urban milieu created on a backlot or sound stage. Basic properties of the medium are examined, beginning with an historical context that starts with the earliest urban-based films such as the Paper Print records of early twentieth century New York, as well as other films that exemplify different approaches to using existing urban environments as raw material for cinematic production.
520 $a A major focus concerns the history of the cinematic representation of the Los Angeles region, a major center of film production, from the inception of cinema through the end of the 1960s. The particular nature of the growth and development of Los Angeles is considered in conjunction with the changing nature of the films set and filmed in this city in narrative as well as documentary films, including films as varied as Harold Lloyd's vertiginous <italic>Safety Last, noir</italic> films such as <italic>He Walked By Night</italic> and <italic> Kiss Me Deadly</italic>, the semi-documentary <italic>The Savage Eye</italic>, and the New Wave influenced <italic>Point Blank</italic>. The changing nature of the film industry as well as changes in the national and international profile of the city contribute to changes in the ways that the city is depicted. One chapter examines an iconographic element of Los Angeles topography embodied in the freeway system as to implications for the subjectivity of inhabitants.
520 $a A final chapter examines the nature of several diverse forms of media representation in urban zones torn by civil strife in more recent settings. This section draws on diverse intellectual methodologies to explore the filmic representation of counter-hegemonic London in the 1980s, the role of media in the downfall of the dictator Ceaucescu's control of Romania, and the role of local television during the civil unrest following the initial trials of the police officers in the Rodney King beating case in Los Angeles.
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