Shooting space, tracking time: The city from animated photography to vernacular relativity

Cultural Geographies

Volumn 14, Issue 4, 2007, Pages 589-609

  Clarke, David B ^a   Doel, Marcus A ^a  

^a SWANSEA UNIVERSITY   (United Kingdom)

Author keywords

Animated photography; City; Film; Motion; Visual culture

Indexed keywords

CULTURAL HERITAGE; MODERNITY; PHOTOGRAPHY; PUBLIC SPACE; URBAN AREA;

EID: 36749045253     PISSN: 14744740     EISSN: None     Source Type: Journal    
DOI: 10.1177/1474474007082295     Document Type: Article

References (146)

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13. Christie's term owes something to Hansen's notion of classical cinema as 'vernacular modernism' but has a broader bearing: see M.B. Hansen 'The mass production of the senses: classical cinema as vernacular modernism', Modernism/modernity 6(2) (April 1999), pp. 59-77.
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54. cited in S. Popple and J. Kember, Early cinema: from factory gate to dream factory (London, Wallflower, 2004), p. 23.
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56. Cf. K. Brownlow, 'Silent films - what was the right speed?', in T. Elsaesser, ed., Early cinema: space, frame, narrative (London, British Film Institute, 1990), pp. 282-90.
57. The optical lantern and cinematograph journal 1 (November 1904), p. 11.
58. The kinematograph and lantern weekly 2(35) (9 January 1908), pp. 141-3.
59. The kinematograph and lantern weekly 2(37) (23 January 1908), p. 179.
60. The kinematograph and lantern weekly 2(35) (9 January 1908), p. 141.
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62. The kinematograph and lantern weekly 3(84) (17 December 1908), p. 823.
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64. reproduced in S. Herbert, ed., A history of early film: volume 3 (London, Roudedge, 2000), p. 84.
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66. The optical magic lantern journal and photographic enlarger 8 (9 5) (April 189 7), p. 62.
67. J. Baudrillard, Simulacra and simulation (trans. S. Glaser) (Ann Arbor, MI, University of Michigan Press, 1994);
68. G. Deleuze, Difference and repetition (trans. P. Patton) (London, Athlone, 1994).
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70. S. Buck-Morss, The dialectics of seeing: Walter Benjamin and the arcades project (Cambridge, MA, MIT Press, 1989), p. 74.
71. I. Calvino, Invisible cities (trans. W. Weaver) (London, Harcourt Brace, 1974), p. 19.
72. J. Ruoff, 'To travel is to possess the world', Visual anthropology 15(1) (2001), p. 1;
73. M.A. Doel and D.B. Clarke, 'An invention without a future, a solution without a problem: motor pirates, time machines and drunkenness on the screen', in R. Kitchin and J. Kneale, eds, Lost in space: geographies of science fiction (London, Continuum, 2002), pp. 136-55;
74. D.N. Rodowick, Gilles Deleuze's time machine (Durham, NC, Duke University Press, 1997).
75. S. Kern, The culture of time and space: 1880-1918 (Cambridge, MA, Harvard University Press, 1983), p. 117, p. 130.
76. Ibid. p. 279.
77. Ibid. p. 70, p. 71.
78. J. McCole, Walter Benjamin and the antinomies of tradition (Ithaca NY, Cornell University Press, 1993);
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80. D.B. Clarke, ed., The cinematic city (London, Routledge, 1997);
81. T. Fitzmaurice and M. Shiel, eds, Screening the city (London, Verso, 2003);
82. M. Shiel and T. Fitzmaurice, eds, Cinema and the city: film and urban societies in a global context (Oxford, Blackwell, 2001).
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84. E. Ezra, Georges Méliès: the birth of the auteur (Manchester, Manchester University Press, 2000).
85. This film is available on-line at: http://hdl.loc.gov/loc.mbrsmi/ lcmp002.m2b01464
86. Birt Acres, cited in J. Barnes, The rise of the cinema in Gt. Britain: the beginnings of the cinema in England 1894-1901, volume 2: Jubilee year 1897 (London, Bishopsgate, 1983), p. 21.
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90. Heath, 'Narrative space', p. 37, p. 36.
91. Rodowick, Deleuze's time machine, p. 3.
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99. Cf. D.B. Clarke 'The City of the Future revisited or, the lost world of Patrick Keiller', Transactions of the Institute of Brifish Geographers 32(1) (2007), pp. 29-45.
100. A. Huyssen, Present pasts: urban palimsests and the politics of memory (Stanford CA, Stanford University Press, 2003), p. 11.
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103. H. Lefebvre, The production of space (trans. D. Nicholson-Smith) (Oxford, Blackwell, 1991), p. 25.
104. P. Keiller, personal communication, 3 September, 2005.
105. Keiller, 'Tram rides,' p. 194.
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108. Cf. S. Pile, Real cities: modernity, space and the phantasmagorias of city life (London, Sage, 2005).
109. Keiller, 'Tram rides', p. 194;
110. citing A. Sant'Elia, 'Manifesto of Futurist architecture 1914', in U. Apollonio, ed., Futurist manifestos: an anthology of the writings of futurist artists (New York, Viking, 1970), p. 172.
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112. Cf. P. Anderson, 'Origins of the present crisis', New left review 23 (1964), pp. 26-53;
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114. P. Anderson, 'Components of the national culture', New left review 50 (1968), pp. 3-58;
115. T. Nairn, 'The British political elite', New left review 23 (1964), pp. 19-25;
116. T. Nairn, 'The English working class', New left review 24 (1964), pp. 43-57.
117. J. Lacan, The four fundamental concepts of psycho-anaylsis (J.-A. Miller, ed.; trans. A. Sheridan) (Harmondsworth, Penguin, 1979), p. 211.
118. A. Easthope, Englishness and national culture (London, Routledge, 1999), p. 106.
119. S. Žizek, The sublime object of ideology (London, Verso, 1989), pp. 57-8.
120. P. de Man 'The rhetoric of temporality', in Blindness and insight: essays in the rbetoric of contemporary critism (London, Methuen, 1983 [1969]), pp. 196-7.
121. Heath, Narrative space', p. 52.
122. A. Easthope, Wordsworth now and then (London, Routledge, 1993), p. 25.
123. S. Freud, 'Screen memories', in J. Strachey, ed., The standard edition of the complete works of Sigmund Freud, volume III (London, Hogarth Press and the Institute of Psycho-analysis, 1953-1974 [18991]), p. 307.
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125. W. Benjamin, The arcades project (ed. R. Tiedemann; trans. H. Eiland and K. McLaughlin) (Cambridge MA, Belknap Press, 1999), p. 417 [N8, 1].
126. G. Agamben 'Difference and repetition: on Guy Debord's films', in T.F. McDonough, ed., Gay Debord and the Situationist International (Cambridge MA, MIT Press, 2002), p. 316.
127. G. Deleuze and E Guattari, Anti-Oedipus: capitalism and schizophrenia (trans. R. Hurley, M. Seem and H. Lane) (Minneapolis, University of Minnesota Press, 1983), p. 27.
128. W Benjamin, 'The work of art in the age of mechanical reproduction', in H. Arendt, ed., and H. Zohn, trans., Illuminations: essays and reflecfions (London, Schocken, 1968 [1936]), p. 236.
129. Agamben, 'Difference and repetition', pp. 315-16.
130. Ibid. p. 315.
131. Austrian independent film & video database, http://www.filmvideo.at/ filmdb÷splay.php?id=1397&Jen=en (accessed 29 November 2005).
132. Deleuze, Difference and repetition.
133. Ibid.
134. Agamben, 'Difference and repetition', p. 318.
135. G. Deleuze, The logic of sense (trans. M. Lester with C. Stivale) (London, Athlone, 1990);
136. J. Derrida, Dissemination (trans. B. Johnson) (London, Athlone, 1981).
137. Ibid. p. 317.
138. Ibid.
139. Ibid. p. 317, p. 319.00
140. Ibid. p. 318.
141. Deleuze, Cinema 2, p. xii.
142. N. Burch, 'Primitivism and the avant-gardes: a dialectical approach', in P. Rosen, ed., Narrative - apparatus - ideology: a film theory reader (New York, Columbia Uraversity Press, 1986), pp. 483-505;
143. T. Gunning, "'An unseen energy swallows space": the space in early film and its relation to the American avant-garde film', in J.L. Fell, ed., Film before Griffith, pp. 355-66;
144. T Gunning, The cinema of attractions i]: early film, its spectator and the avant-garde', in T. Elsaesser, ed., Early cinema, pp. 56-62.
145. Bela Balsz, quoted in W. Schivelbusch, Disenchanted night: the industrialization of light in the 19th century (Berkeley, University of California Press, 1988), p. 220.
146. Ingold, 'Temporality', p. 164.