"Racing across the disciplines of architecture, sociology, media studies, and cultural studies, and sites like Berlin, Tokyo, and San Diego, this collection is unique in its ecumenical approach to the new phenomenon of the city under or as globalization." -Toby Miller, professor of cultural studies and cultural policy, New York University In Global Cities, scholars from an impr...
"Racing across the disciplines of architecture, sociology, media studies, and cultural studies, and sites like Berlin, Tokyo, and San Diego, this collection is unique in its ecumenical approach to the new phenomenon of the city under or as globalization." -Toby Miller, professor of cultural studies and cultural policy, New York University In Global Cities, scholars from an impressive array of disciplines critique the growing body of literature on the process broadly known as "globalization." This interdisciplinary focus enables the authors to explore the complex geographies of modern cities, and offer possible strategies for reclaiming a sense of place and community in these globalized urban settings. While examining major cities including New York, Tokyo, Berlin, Paris, and Hong Kong, contributors insist that the study of urban experiences must remain as attentive to the material effects as to the psychic and social consequences of globalization. Accordingly, essays explore the implications of global culture for architecture, cinema, and communication--but do so in a way that highlights the importance of the spaces between such metropolitan centers. These locations, the authors argue, serve as increasingly important "frontier zones," where a diverse set of actors converge and contend for power and presence. Such a perspective ultimately adds nuance and meaning to our understanding of the heterogeneous urban landscapes of these global cities. Linda Krause is an associate professor in the Department of Architecture at the School of Architecture and Urban Planning, University of Wisconsin, Milwaukee. Patrice Petro is professor of film studies and director of the Center for InternationalEducation at the University of Wisconsin, Milwaukee. A volume in the New Directions in International Studies series, edited by Patrice Petro
At the turn of the twentieth century the boom in the new photographic media—if indeed not their very raison d’être—signals still another attempt at superseding the print vernaculars’ threatened Babel—a Babel that could now also be heard as a torrent of languages coming in via the tuner of Marconi’s radio. The rapid ascendancy and spread of moving pictures during the roughly twenty years straddling the year 1900 virtually coincides with the boom in other nascent artificial universal languages—such as Esperanto (of which Thomas Edison was an ardent adherent) or its many invariants, such as Volapuk or Lingua Romana. And motion pictures arrived also more or less simultaneously with attempts in British and Viennese analytic philosophy to formalize and streamline natural language into a system o... (查看原文)
As Miriam Hansen has argued at length in her book Babel and Babylon: Spectatorship in the American Silent Cinema, it is in the (silent) motion picture theater, being addressed in what the contemporary cinema discourse (that of the industry as well as that of the critics) insistently referred to as “the universal language of the moving image,” that the polylingual, largely illiterate laborers, women, and children were converted from an immigrant mass to an immigrant nation—a nation that almost simultaneously was building its towering postwar economic power and its cultural capacity to globalize precisely on rationalizing andstandardizing the work and the tastes of this heterogeneous mass. For Hansen the strain of this process is readily visible in the gargantuan 1916 Intolerance, through wh... (查看原文)
还没人写过短评呢