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Walking, seeing, and being seen in the city—as voyeur or as the subject of surveillance—have a long and contested history. City planning in the last half century has been increasingly fraught with contradictory desires to promote commerce as well as ostensibly progressive initiatives like greening, the re-pedestrianization of cities, and the rehabilitation of historic neighborhoods as sites to make the past more palatable and profitable¬. This special issue historicizes and reconsiders the flaneur—the city stroller—as the iconic bystander to the spectacle of urban life and change, drawing perspectives from urban and public history, museum studies, geography, and sociology. One article analyzes Australian frontier towns, where notions of indigeneity are commodified for white consumers while Aborigines themselves are unwelcome. Another examines the “funereal flanerie” of protestors in Guatemala who stage scenes of public mourning to engage the radical power of dead bodies in public spaces. Flanerie and drifting are explored as pedagogical tools to draw students out of the controlled settings of college campuses. Contributors to this issue examine the physical experience of city walking—determined by architecture, street signs, traffic lights, and each walker's differently abled body—alongside the subtler class, racial, and historical markers that define who in city spaces is imagined to be respectable and who is dangerous. Robin Autry is assistant professor of sociology at Wesleyan University. Daniel J. Walkowitz holds a joint appointment as professor of history and metropolitan studies in the Department of Social and Cultural Analysis and Department of History at New York University. He is a coeditor of Contested Histories in Public Space: Memory, Race, and Nation and Memory and the Impact of Political Transformation in Public Space, both published by Duke University Press. Contributors: Robyn Autry, Gabrielle Bendiner-Viani, Bruce Doran, Eva Giloi, Catherine Holmes, Ralph Kingston, Tess Lea, Francis Markham, Hillary Miller, Don Mitchell, Natalia Onyshchenko, Elihu Rubin, Anastasiya Ryabchuk, Barbara Schmucki, David Serlin, Jennifer Tucker, Heather Vrana, Daniel J. Walkowitz, Martin Young
While film studies has traditionally treated the presence of the city in film as an urban text operating inside of a cinematic one, this approach has recently evolved into the study of cinema as a technology of place. From this perspective, Documenting Cityscapes explores the way the city has been depicted by nonfiction filmmakers since the late 1970s, paying particular attention to three aesthetic tendencies: documentary landscaping, urban self-portraits, and metafilmic strategies. Through the formal analysis of fifteen works from six different countries, this volume investigates how the rise of subjectivity has helped to develop a kind of gaze that is closer to citizens than to the institutions and corporations responsible for recent major transformations. Documenting Cityscapes therefore reveals the extent to which cinema has become an agent of urban change, in which certain films not only challenge the most controversial policies of late capitalism but also are able to produce spatiality themselves.
This book explores the emerging forms and functions of contemporary mobile borders. It deals with issues of security, technology, migration and cooperation while addressing the epistemological and political questions that they raise. The 'borderities' approach illuminates the question of how borders can be the site of both power and counter-power.
From the verticals of New York, Hong Kong and Singapore to the sprawls of London, Paris and Jakarta, this interdisciplinary volume of new writing examines constructions, representations, imaginations and theorizations of 'cityscapes' in modern and contemporary culture. With specially-commissioned essays from the fields of cultural theory, architecture, film, literature, visual art and urban geography, it offers fresh insight into the increasingly complex relationship between urban space, cultural production and everyday life. This volume draws on critical urban studies and moves beyond familiar cultural representations of the city by considering urban planning and architecture. Organized under three inter-related themes - image, text and form - essay topics range from the examination of cyberpunk skylines, pagan urbanism and the cinema of urban disaster, to the analysis of iconic city landmarks such as the twin towers, the London Eye and the Judisches Museum Berlin. Covering a diverse range of cities, including Berlin, Chicago, Jakarta, Johannesburg, Hong Kong, London, Los Angeles, Paris, and Venice, this fantastic resource for students, scholars and researchers alike, works expertly at the intersections of visual, material, and literary culture.
The Routledge Companion to Theatre and Politics is a volume of critical essays, provocations, and interventions on the most important questions faced by today’s writers, critics, audiences, and theatre and performance makers. Featuring texts written by scholars and artists who are diversely situated (geographically, culturally, politically, and institutionally), its multiple perspectives broadly address the question "How can we be political now?" To respond to this question, Peter Eckersall and Helena Grehan have created eight galvanising themes as frameworks or rubrics to rethink the critical, creative, and activist perspectives on questions of politics and theatre. Each theme is linked to a set of guiding keywords: Post (post consensus, post-Brexit, post-Fukushima, post-neoliberalism, post-humanism, post-global financial crisis, post-acting, the real) Assembly (assemblage, disappearance, permission, community, citizen, protest, refugee) Gap (who is in and out, what can be seen/heard/funded/allowed) Institution (visibility/darkness, inclusion, rules) Machine (biodata, surveillance economy, mediatisation) Message (performance and conviction, didacticism, propaganda) End (suffering, stasis, collapse, entropy) Re. (reset, rescale, reanimate, reimagine, replay: how to bring complexity back into the public arena, how art can help to do this). These themes were developed in conversation with key thinkers and artists in the field, and the resulting texts engage with artistic works across a range of modes including traditional theatre, contemporary performance, public protest events, activism, and community and participatory theatre. Suitable for academics, performance makers, and students, The Routledge Companion to Theatre and Politics explores questions of how to be political in the early 21st century, by exploring how theatre and performance might provoke, unsettle, reinforce, or productively destabilise the status quo.
In this survey of the history of Spanish cinema in the Spanish dictatorship and democratic periods, the author argues that studies of adaptations must simultaneously address questions of 'text' - formal issues central to the study of film and literature - and 'context' - crucial ideological concerns.
James Ellroy is an acclaimed yet controversial popular novelist. Since the publication of his first novel Brown’s Requiem in 1981, Ellroy’s eccentric “Demon Dog” persona and his highly stylized, often pornographically violent crime novels have continued to polarize both public and academic opinion. This book addresses the voyeuristic dimensions of Ellroy’s fiction, one of the most significant yet underexplored issues in his work. Focusing exclusively on Ellroy’s two collections of epic noir fiction, The L.A. Quartet and The Underworld U.S.A. Trilogy, it critically reflects on a vivid preoccupation with eyes, visual culture, and visual technologies that spans across both these bodies of work. Using a combination of psychoanalysis and postmodern and cultural theory, Nathan Ashman argues that Ellroy’s fiction traces the development of the voyeur from a deviant and perverse “peeping tom” into a recognizable, contemporary “social type,” a paranoid and obsessive viewer who is a product of the decentered and hallucinatory ”cinematic” world that he inhabits. In particular, James Ellroy and Voyeur Fiction illuminates a convergence between voyeurism and recurring patterns of “ocularcentric crisis” in Ellroy’s texts, as characters become continually unable to understand or interpret through vision. Alongside a thematic analysis of obsessive watching, Ashman also argues that Ellroy’s works—particularly his later novels—are themselves voyeuristic, implicating the reader in these broader narrative patterns of both visual and epistemophilic obsession.
A PDF version of this book is available for free in open access via the OAPEN Library platform (www. oapen. org). Ciaran Carson is one of the most challenging and inventive of contemporary Irish writers, exhibiting verbal brilliance, formal complexity, and intellectual daring across a remarkably varied body of work. This study considers the full range of his oeuvre, in poetry, prose, and translations, and discusses the major themes to which he returns, including: memory and history, narrative, language and translation, mapping, violence, and power. It argues that the singularity of Carson's writing is to be found in his radical imaginative engagements with ideas of space and place. The city of Belfast, in particular, occupies a crucially important place in his texts, serving as an imaginative focal point around which his many other concerns are constellated. The city, in all its volatile mutability, is an abiding frame of reference and a reservoir of creative impetus for Carson's imagination. Accordingly, the book adopts an interdisciplinary approach that draws upon geography, urbanism, and cultural theory as well as literary criticism. It provides both a stimulating and thorough introduction to Carson's work, and a flexible critical framework for exploring literary representations of space.
In the wake of the Good Friday Agreement, the redevelopment of the former Girdwood Army Barracks in North Belfast was hailed as a ‘symbol of hope’ for Northern Ireland. It was a major investment in a former conflict zone and an internationally significant peacebuilding project. Instead of adhering to the tenets of the Agreement, sectarianism dominated the regeneration agenda. Throughout the process, politicians, community groups and paramilitaries wrangled over the site’s future, and territorial contest won out over housing need. After eleven years of negotiation and £11.7 million, the EU-funded Girdwood Community Hub opened its doors to the public in 2016, but its impact has been underwhelming. The Hub’s redevelopment is a microcosm of the peace process itself, and the ways in which post-Agreement politics have failed to deliver a ‘shared future’ for the people of Northern Ireland, twenty-five years on. This ethnography provides a lively account of Girdwood’s redevelopment and a wry critique of the fractious political context around it. Through flânerie and encounter, the author brings us across peace walls, into community meetings and behind the scenes of decision-making in Northern Ireland. Girdwood’s story also sheds light on how power, politics and territory intersect in divided cities globally.
How the European Union handles posted workers is a growing issue for a region with borders that really are just lines on a map. A 2008 story, dissected in Ines Wagner’s Workers without Borders, about the troubling working conditions of migrant meat and construction workers, exposed a distressing dichotomy: how could a country with such strong employers’ associations and trade unions allow for the establishment and maintenance of such a precarious labor market segment? Wagner introduces an overlooked piece of the puzzle: re-regulatory politics at the workplace level. She interrogates the position of the posted worker in contemporary European labour markets and the implications of and regulations for this position in industrial relations, social policy and justice in Europe. Workers without Borders concentrates on how local actors implement European rules and opportunities to analyze the balance of power induced by the EU around policy issues. Wagner examines the particularities of posted worker dynamics at the workplace level, in German meatpacking facilities and on construction sites, to reveal the problems and promises of European Union governance as regulating social justice. Using a bottom-up approach through in-depth interviews with posted migrant workers and administrators involved in the posting process, Workers without Borders shows that strong labor-market regulation via independent collective bargaining institutions at the workplace level is crucial to effective labor rights in marginal workplaces. Wagner identifies structures of access and denial to labor rights for temporary intra-EU migrant workers and the problems contained within this system for the EU more broadly.