Titlebook: London on Film; Pam Hirsch,Chris O‘Rourke Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 British Cinema.Urban Studies.Arch

Nutrient

,‘Local Film Subjects’: Suburban Cinema, 1895–1910,ng has become a part of local history, leaving its mark through blue plaques and street names, contributing to a sense of local identity, and also serving as a source of visual material for the local historian. This, again, is true of most studio-based filmmaking in London, pointing to a further res

音樂學者

Glamour and Crime: The London Nightclub in Silent Film,specific space. London nightclubs in 1920s British films are spaces of leisure, but vice and crime always occurs in their margins—in the streets, offices, and other spaces that surround them. Nightclubs were a uniquely modern space in 1920s London, encapsulating the era’s quest for new music, dance,

JAUNT

,Hitchcock’s , (1936): Conspirators and Bombs in Actual, Literary and Filmic London, the street markets, or going to the cinema, travelling by bus, or tram or tube, and arguably these images suggest a form of social cohesion. The lingering shots of the faces of Londoners cheerfully finding their way out of the Underground by holding up matches and cigarette lighters following the p

debris

hysterectomy

From Dogpower to Ratropolis: London in Animated Film,lms to explore aspects of London in playful and distinctive ways. Moreover, the setting of each film in a different period (mid-twentieth century, .-.-. and twenty-first century respectively) constructs a layered historical imaginary. This is particularly evident in the way their respective narrativ

恭維

Skateboard City: London in Skateboarding Films,h camcorder footage of the burgeoning street-skateboarding scene of the 1990s (raising issues of subculture, urban space and masculinity) through to today’s scene, where a plethora of art-based films, documentaries, social media clips and guerrilla-style advertising have become an integral part of a

thalamus

, and the Construction of Cult Space in Millennial London,lennial London. Drawing on fan studies and work on cult films Newland further argues that the film facilitates the constriction of ‘cult space’, not least through its encouragement of fan pilgrimages.

GNAW

BET

London in Transition: Sites of Melancholy,e and place produced within each, and the different kinds of loss anticipated and explored. This study is concerned with the peculiar ability of film to offer its audiences images of what was once part of the material city and is now gone, and with both the tense and tone of these meditations. The g

出沒

,East–West: Reflections on the Changing Cinematic Topography of London,onsumerism and mobility, while . (2002) showed an ‘immigrant London’ that coexists alongside the many other London identities. With the current proliferation of public and private screens in London, and the ability of viewers to create their own images of the city using cameraphones, we may ask: wha