Urbanization and the Migrant in British Cinema: Spectres of by Gareth Millington

By Gareth Millington

This booklet examines a cycle of movies approximately migration made within the past due Nineties and 2000s. It argues that those movies current a singular (and radical) aesthetic of planetary urbanization established upon the mobility of the migrant and the dissolution of town. A stimulating cinematic research of our increasing city cloth, it bargains a substitute for the ‘cultural cityism’ of many different motion pictures approximately migration. the writer demonstrates that this actual movie cycle bargains an extraordinary, sustained attention of the travails and struggles for city lifestyles via migrants past and with no the town. but town haunts those motion pictures like a spectre: the town that has been misplaced, the ‘present’ urban that excludes and the prospective ‘cities of safe haven’ of the longer term. providing new insights into the cinematic portrayal of the determine of the migrant and the way this is often built when it comes to urbanization strategies, this ebook will entice scholars and students of sociology, movie and media experiences, human geography, and concrete stories.

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Power, A. (1993). Hovels to high rise: State housing in Europe since 1850. Abingdon: Psychology Press. Prakash, G. (2010). Noir urbanisms: Dystopic images of the modern city. Princeton, NJ: Princeton University Press. Raban, J. (1974). Soft city: What cities do to us, and how they change the way we live, think and feel. London: Hamish Hamilton. Rancière, J. (2004). The politics of aesthetics. London: Bloomsbury. Rancière, J. (2006). Film fables. London: Bloomsbury. Rancière, J. (2007). The future of the image.

It is this deeply subjective, experiential and creative realm into which conceived space increasingly intervenes in capitalist societies. It does this by attempting to impose order upon or interfere with the inherent unruliness found within the representational realm. This occurs similarly to how Habermas (1987) explains the ‘colonisation of the lifeworld’ by techno-capitalist system imperatives. Representational space is the space of everyday experience and is often passively experienced in the sense that it is dreamt rather than ‘thought about’.

More recently, Rancière (2014: 2) states that ‘the greatness of cinema lay not in the metaphysical high-mindedness of its subject or the visual impact of its plastic effects, but in an imperceptible difference in CINEMA, CITIES AND URBANIZATION 37 the ways of putting traditional stories and emotions into image’. Cinema restores links between art, narrative and emotion. : 3). In this way, cinema is not an ironic or disillusional art form. In a positive sense, it reveals the impurity of art, the idea that art could ever exist as pure form.

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