شهرها و سینما

by Barbara Mennel, نوید پورمحمدرضا (Translator), نیما عیسی‌پور (Translator)

Films about cities abound. They provide fantasies for those who recognize their city and those for whom the city is a faraway dream or nightmare. How does cinema rework city planners’ hopes and city dwellers’ fears of modern urbanism? Can an analysis of city films answer some of the questions posed in urban studies? What kinds of vision for the future and images of the past do city films offer? What are the changes that city films have undergone?

Cities and Cinema puts urban theory and cinema studies in dialogue. The book’s first section analyzes three important genres of city films that follow in historical sequence, each associated with a particular city, moving from the city film of the Weimar Republic to the film noir associated with Los Angeles and the image of Paris in the cinema of the French New Wave. The second section discusses socio-historical themes of urban studies, beginning with the relationship of film industries and individual cities, continuing with the portrayal of war torn and divided cities, and ending with the cinematic expression of utopia and dystopia in urban science fiction. The last section negotiates the question of identity and place in a global world, moving from the portrayal of ghettos and barrios to the city as a setting for gay and lesbian desire, to end with the representation of the global city in transnational cinematic practices.

The book suggests that modernity links urbanism and cinema. It accounts for the significant changes that city film has undergone through processes of globalization, during which the city has developed from an icon in national cinema to a privileged site for transnational cinematic practices. It is a key text for students and researchers of film studies, urban studies and cultural studies.

Genres: Architecture

304 pages, Paperback

First published January 1, 2008

Reviews

[Kai-Te Lin · Rating 5 out of 5]

非常好的電影研究，讀得津津有味。電影是在城市（巴黎）被發明出來的，電影的發展與城市理論有著分不開的糾纏；書總共分為3部分，第一部分以歷史上特定城市（柏林、洛杉磯、巴黎）發展出來特定的電影型態、運動；第二部分則是城市電影跨出純粹國族邁向跨國進程，從現代主義進入後現代範疇；第三部分是分析關於邊緣社群的電影（種族、階級、性傾向），顯現城市內部也是存在異質性，這些相異性既是展現城市的多元，給不同的族群安身立命的場所，卻也同時存在危險的撞擊，以及現今的全球化是如何改變的電影內容與型態的產製。

讀的是群學出版的台譯版，譯者很認真的標示原作者的錯誤（拼字、演員、電影情節等），但是有些翻譯實在是屏棄了台灣常用的譯名，像是《電影筆記》（Cahiers du Cinéma）翻成「電影手冊」、「安端．達諾」（Antoine Doinel）翻成「安托萬．多義諾」（同一章後面講到另一部電影的角色Antoine卻又翻成「安東」）、「香妲．艾克曼」（Chantal Akerman）翻成「香特爾．阿克曼」、「賈克．德米」（Jacques Demy）翻成「積葵．丹美」，有些是中國翻譯，又有些是香港譯名，混用放在主要是台灣譯名的書裡面很擾亂，尤其法國新浪潮是這麼常提的電影運動；本書中譯版出版（2019）前，2016年女性影展做了香妲回顧專題，2015年也有講電影筆記的歷史書籍出版（《用鋼筆戰鬥的電影筆記》），對於不熟悉這些影人影事的讀者來說只會造成不必要的混亂。

[Mehdi Shamaghdari · Rating 3 out of 5]

از نویسنده و مترجم این کتاب صمیمانه سپاسگزارم چرا که در نگارش پایان نامه برای من چون چراغ راهی در تاریکی ظاهر شدند