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The city seen: Cinematic representation of urban space.

机译：看到的城市：城市空间的电影表现。

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摘要

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.; 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 Safety Last, noir films such as He Walked By Night and Kiss Me Deadly, the semi-documentary The Savage Eye, and the New Wave influenced Point Blank. 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.; 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.
机译：这项工作探索了围绕城市空间与电影表现相交的问题。首先要考虑的是，电影作为一种媒介如何表现出城市建筑环境的动态，地形特征，尤其是在定位电影的情况下，而不是在背景或声场上创造的城市环境。考察了媒体的基本特性，从历史背景开始，从最早的城市电影开始，例如二十世纪初纽约的Paper Print记录，以及其他一些电影，这些电影举例说明了使用现有城市环境的不同方法，例如：电影制作的原材料。从电影院的创立到1960年代末，洛杉矶是电影制作的主要中心，其电影放映的历史一直是人们关注的重点。考虑到洛杉矶的成长和发展的特殊性质，以及在该市以叙述性和纪录片形式拍摄和拍摄的电影的变化特性，包括像哈罗德·劳埃德（Harold Lloyd）着名的 Safety Last，黑色电影，例如他走过夜路和亲吻我致命，半纪录片 The Savage Eye 和New Wave影响了点空白。电影业性质的变化以及城市的国家和国际形象的变化都导致了城市描绘方式的变化。一章探讨了高速公路系统中体现的洛杉矶地形的一个影像学要素，它对居民的主体性产生了影响。最后一章探讨了在较新的背景下，由于内乱而破裂的城市地区几种不同形式的媒体代表形式的性质。本节使用多种智力方法探讨1980年代反霸权伦敦的电影作品，媒体在独裁者切奥塞斯库（Ceaucescu）对罗马尼亚的控制中的失败以及在初审后内乱中当地电视台的作用洛杉矶罗德尼·金殴打案中的警察。

著录项

  • 作者

    Arnwine, Clark.;

  • 作者单位

    University of Southern California.;

  • 授予单位 University of Southern California.;
  • 学科 Cinema.; Mass Communications.
  • 学位 Ph.D.
  • 年度 2003
  • 页码 279 p.
  • 总页数 279
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 电影、电视艺术;传播理论;
  • 关键词

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