![]() This research has been extracted from the Ph.D. It constitutes a series of spatial image hieroglyphics–which may be deciphered in order to provide access to deeper underlying questions about society. The metropolis therefore lends itself to research as a textual object. Their reading of the city crucially conditions their writing of the city text and its buildings, streets, street furniture, etc.Thus, the task of any theorist intending to analyze the metropolis is to act like a detective, interrogating the traces and revealing the secrets. Architecture and urban architecture make up the body of the city for the presence of both lives, and cinema is a novel platform for re-reading the relationship between the body and the soul of the modern city.įinally, it is important to know that the city must be read by those who seek to create, shape, and transform it. Most broadly viewed, cinema represents both the real and the imaginary. Apart from anthropological fieldwork, nothing compares with watching movies made for a community’s domestic market when the community is to be known. Emphasis on the relationship between cinema and the city denotes emphasis on culture and how the city is represented thereby. The unconscious nature of surface-level expressions reveals the hidden logic behind these phenomena.Cinema is one of the most important factors involved in the reconstruction of spatial images and urban mindscape. Any Marxist-inspired cultural theorist would argue that what we see on the surface is the product of deeper underlying forces, in order to understand which we need to interpret the surface level. As a German cultural theorist, Siegfried Kracauer, puts it, where the hieroglyphics of any spatial image are deciphered, the basis for social reality presents itself. Mindscape and spatial images play an important role in the experiencing and understanding of the city, as they result from a combination of different factors such as literature, art, media, myth, and narrative. The reader, the “lover” of cities, must therefore be open to a range of “readings”, which go well beyond straightforward, rational analyses to open up the “poetry” of the city. Because there is no single way of understanding the metropolis, everything depends on how one views the metropolis and who views it. A city–any city–is always open to a variety of interpretations, and meaning must always remain plural and contested. This means that the metropolis itself does not exist, and can only be understood through its various manifestations.In the reading of a city, or indeed any cultural artifice, it is important to know that meaning is never univocal. Thus, it might be read as a text, with its forms deciphered and its meanings understood. ![]() As a patchwork quilt of traces of human existence, the metropolis could not present itself beyond the limitations of any strictly positivistic outlook, and it requires semiotic and phenomenological models like reading and experiencing. To understand the metropolis is–to some extent–to understand our present age. Thus, it can be understood as an amalgam of objects of cultural production. It features prominently in the public imagination as the very site of modernity and capitalist economy that has been encoded to convey the preferred meanings. ![]() The metropolis plays an important role in the contemporary society. ![]()
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