Film as spatial critique

Critical Architecture

Volumn , Issue , 2007, Pages 115-123

  Keiller, Patrick ^a  

^a ROYAL COLLEGE OF ART   (United Kingdom)

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[No Author keywords available]

Indexed keywords

EID: 84859496559     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203945667     Document Type: Chapter

References (13)

1. For more on the implications of electronic media for experience of moving images, see Laura Mulvey, Death 24x a Second: Stillness and the Moving Image, London:Reaktion, 2005.
2. Henri Lefebvre, The Production of Space, translated by Donald Nicholson-Smith, Oxford: Blackwell, 1991, pp. 189-90.
3. Tom Gunning, 'The Cinema of Attractions: Early Film, its Spectator and the Avant-Garde', in Thomas Elsaesser and Adam Barker (eds), Early Cinema: Space, Frame, Narrative, London: British Film Institute, 1990, pp. 56-62.
4. Gunning, 'The Cinema of Attractions', p. 57.
5. See Tony Rayns, 'Death at Work: Evolution and Entropy in Factory Films', in Michael O'Pray (ed.), Andy Warhol Film Factory, London: British Film Institute, 1989, p. 164.
6. David Harvey, The Condition of Postmodernity, Oxford: Blackwell, 1990, p. 266.
7. Stephen Kern, The Culture of Time and Space 1880-1918, Cambridge, MA: Harvard University Press, 1983, p. 5.
8. John Berger, The Moment of Cubism and Other Essays, London: Weidenfeld and Nicholson, 1969, p. 6.
9. Reyner Banham, Theory and Design in the First Machine Age, London: Architectural Press, 1960, p. 14.
10. Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction', p. 228.
11. See Kern, The Culture of Time and Space, p. 157.
12. Harvey, The Condition of Postmodernity, p. 276.
13. See, for instance, Georg Simmel, 'The Metropolis and Mental Life' [1903], in On Individuality and Social Forms, Chicago: University of Chicago Press, 1971, pp. 324-9.