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Cinematic Urban Geographies

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Cover of 'Cinematic Urban Geographies'

Table of Contents

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    Book Overview
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    Chapter 1 Introduction
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    Chapter 2 The Cinema in the Map – The Case of Braun and Hogenberg’s Civitates Orbis Terrarum
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    Chapter 3 Cinematic Cartographies of Urban Space and the Descriptive Spectacle of Aerial Views (1898–1948)
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    Chapter 4 Charting the Criminal: Maps as Devices of Orientation and Control in Fritz Lang’s M (1931) and Francesco Rosi’s Le mani sulla città (1963)
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    Chapter 5 ‘Merely Local’: Film and the Depiction of Place, Especially in Local Documentary
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    Chapter 6 The Cine-Tourist’s Map of New Wave Paris
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    Chapter 7 Set-Jetting, Film Pilgrimage and The Third Man
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    Chapter 8 The Cinematic Shtetl as a Site of Postmemory
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    Chapter 9 ‘Where Is the Dust That Has Not Been Alive?’: Screening the Vanished Polis in Stirbitch: An Imaginary
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    Chapter 10 Melancholy Urbanism: Distant Horizons and the Presentation of Place
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    Chapter 11 Cinematic Urban Archaeology: The Battersea Case
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    Chapter 12 The Cinematic and the Televisual City: South London Revisited
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    Chapter 13 ‘Los Angeles and Hollywood in Film and French Theory: Agnès Varda’s Lions Love… and Lies (1969) and Edgar Morin’s Journal de Californie (1970)’
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    Chapter 14 Urban Cinematic Palimpsests: Moving Image Databases for the City
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    Chapter 15 Geographies of the Moving Image: Transforming Cinematic Representation into Geographic Information
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    Chapter 16 Ghost Cinema App: Temporal Ubiquity and the Condition of Being in Everytime
Attention for Chapter 9: ‘Where Is the Dust That Has Not Been Alive?’: Screening the Vanished Polis in Stirbitch: An Imaginary
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Chapter title
‘Where Is the Dust That Has Not Been Alive?’: Screening the Vanished Polis in Stirbitch: An Imaginary
Chapter number 9
Book title
Cinematic Urban Geographies
Published by
Palgrave Macmillan, New York, January 2017
DOI 10.1057/978-1-137-46084-4_9
Book ISBNs
978-1-137-46830-7, 978-1-137-46084-4
Authors

Michael Hrebeniak

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