Articles by Lawrence Webb
The Routledge Companion to Media and the City, 2022
This chapter examines the renewed importance of film and television studios to the contemporary c... more This chapter examines the renewed importance of film and television studios to the contemporary city. It commences with a brief overview of critical literature on the history of studios as urban and architectural spaces, before moving on to consider some recent developments in the relationship between studios and urban space. Arguing that studio production has become more, rather than less, important in the era of digital streaming and media convergence, the chapter shows how studio spaces have become financialized real estate assets in the global rentier economy while being co-opted into local creative city agendas. At the same time, digital visual effects and “virtual” production practices have begun to destabilize the traditional dualism between studios and locations. Studying the contemporary studio complex therefore requires us to think about cities and media at multiple scales, whether viewed in terms of finance, real estate, and the creative economy on the one hand, or the convergence of architecture, technology, and aesthetics on the other.
The Bloomsbury Handbook to Sofia Coppola, 2023
When the Robert Mapplethorpe Foundation invited Sofia Coppola to curate an exhibition for the Gal... more When the Robert Mapplethorpe Foundation invited Sofia Coppola to curate an exhibition for the Galerie Thaddeus Ropac in Paris, 2011, it was both the apotheosis of her long- standing interest in photography and the latest development of an eclectic international career that has spanned film, advertising, music, and fashion. In interviews, Coppola likes to discuss her affinity for the visual arts, especially photography, and she has often talked in detail about photographers who have influenced her filmmaking, from Bill Owens and William Eggleston to Helmut Newton and Tina Barney. Like her contemporaries Wes Anderson and Spike Jonze, Sofia Coppola has pursued a portfolio career across different media forms and cultural sectors, and this excursion into the gallery world was in some ways business as usual for a director who has designed handbags for Marc Jacobs and edited a special issue of Vogue Paris. Yet there is something especially significant, even paradigmatic, in her curation of the Mapplethorpe exhibition, which offers a key to some of the industrial functions and cultural tensions that characterize her auteur brand. In this chapter, I extrapolate from this one literal instance of Coppola's curatorship to propose that the idea of the "auteur as curator" has shaped engagement with her films and her public image. Whether we look at magazine profiles, promotional paratexts, or fan sites, media engagements with Coppola and her work use curation as an organizing discursive figure. From the subcultural cool of her compilation soundtracks to the deployment of fashion, props, artwork, and locations, her films are offered to the viewer as curated texts that can be disassembled into a series of intertextual references, stylistic choices, and commodity objects-a disaggregated list of images, artworks, songs, fashion choices, and consumer items that can be liked, shared, pinned, reassembled, and potentially purchased. In such materials, her work and life are habitually portrayed as a continuum in which the expression of style in her films maps onto her personal sensibility and the visible performance of an upscale lifestyle for public consumption. In short, her auteur brand can be understood as a self-curated text held together by one central idea: Sofia Coppola has taste.
The City in American CInema: Film and Postindustrial Culture (ed. Andersson and Webb), 2019
Oxford Bibliographies in Cinema and Media Studies, 2018
New York City has played a vital role in the history of American cinema. This annotated, peer rev... more New York City has played a vital role in the history of American cinema. This annotated, peer reviewed bibliography draws together divergent strands of scholarship that approach the topic of New York City and cinema from multiple perspectives.
Citation: Lawrence Webb, "New York City in Cinema", in Oxford Bibliographies in Cinema and Media Studies, Ed. Krin Gabbard (2018).
The City in American Cinema: Film and Postindustrial Culture (ed. Andersson and Webb), 2019
This chapter examines the promotional activities of the Mayor's Office of Motion Pictures and Tel... more This chapter examines the promotional activities of the Mayor's Office of Motion Pictures and Television in New York City during the late 1970s and early 1980s, arguing that it developed as a prototypical institution of the neoliberal city. It examines the production history of two films in this period – Cruising (William Friedkin, 1980) and Fort Apache, the Bronx (Daniel Petrie, 1981) – and the high profile protests organized against them by gay activists in Greenwich Village and Latino activists in the South Bronx, respectively. Each campaign sought to disrupt the film’s progress at every phase, from location shooting to exhibition, and both were arguably designed and staged as media events, with the express intention of engaging the studios, the city government, and the public through local and national media coverage.
Keywords: New Hollywood; New York City; media activism; neoliberalism; Fort Apache, the Bronx; Cruising; William Friedkin
Post45, 2014
In the 1970s, San Francisco gained a new importance for post-studio Hollywood. This article exami... more In the 1970s, San Francisco gained a new importance for post-studio Hollywood. This article examines the role played by the city during a decade of crisis and reorganization for the film industry, arguing that its contribution to New Hollywood went deeper than iconic cityscapes or countercultural surface. As a rapidly redeveloping city at the cutting edge of high-tech, post-Fordist production, San Francisco offered the spaces and capital arrangements necessary to allow Hollywood sufficient breathing room to reconfigure both its relationship to its own talent and its viewers' relationship to films in ways that would fully enlist both groups in the post-industrial economy. In this article, I explore San Francisco's distinctive role through close analysis of The Conversation (Francis Ford Coppola, 1974), a key text of seventies cinema. While conventionally viewed through the prism of Watergate and national politics, reframing or remapping the film in its specific urban context provides an alternative perspective on New Hollywood filmmaking and its participation in new paradigms of production, consumption and labor. Shot on location by Coppola's independent company American Zoetrope in disused warehouses, condemned buildings and newly-built skyscrapers, The Conversation evinces the material role of the film industry in the shifting productive capacities of the city. And through its central investigational narrative and evocation of two key visual tropes - the planner's gaze and the editor's gaze - it engages with the transformation of San Francisco and with new modes of authorship and spectatorship in the emerging New Hollywood.
Cinema Journal, Jul 2015
This article reviews the geographical dynamics of New Hollywood, arguing that the industrial cris... more This article reviews the geographical dynamics of New Hollywood, arguing that the industrial crisis of 1969–1971 catalyzed further decentralization of location shooting beyond Los Angeles, bringing new types of urban space into view. It examines the parallel crisis and restructuring of the film industry and the inner city via two films, The King of Marvin Gardens (Bob Rafelson, 1972) and Rocky (John G. Avildsen, 1976), which are emblematic of distinct phases in the development of New Hollywood. Through their aesthetic strategies, narrative structure, and mapping of cinematic space, these films produced allegories of urban decline and renewal that closely engaged with the transformation of the American city, from the urban crisis of the late 1960s to neoliberal programs of renewal in the late 1970s.
Cinema and audiovisual media are integral to the culture, economy and social experience of the co... more Cinema and audiovisual media are integral to the culture, economy and social experience of the contemporary global city. But how has the relationship between cinema and the urban environment evolved in the era of digital technology, new media and globalization? And what are the critical tools and concepts with which we can grasp this vital interconnection between space and screen, viewer and built environment? Engaging with a rapidly transforming urban world, the contributions to this collection rethink the 'cinematic city' at a global scale. By presenting a global constellation of screen cities within one volume, the book encourages juxtapositions and comparisons across the North and South to capture the global city and its dynamics of exchange, hybridity, and circulation. The contributions examine film and screen cultures in a range of locations spanning five continents: Antibes, Beijing, Buenos Aires, Busan, Cairo, Caracas, Copenhagen, Jakarta, Kolkata, Lagos, Los Angeles, Malmö, Manila, Mumbai, Nairobi, Paris, Seoul, Sète, and Shanghai. The chapters address topics that range across the contemporary film and media landscape, from popular cinema, art cinema, and film festivals to serial television, public screens, multimedia installations, and video art.
Hollywood on Location: An Industry History, 2019
Chapter 5 from Hollywood on Location: An Industry History, ed. Lawrence Webb and Joshua Gleich (R... more Chapter 5 from Hollywood on Location: An Industry History, ed. Lawrence Webb and Joshua Gleich (Rutgers University Press, 2019): https://www.amazon.co.uk/Hollywood-Location-Industry-Joshua-Gleich/dp/0813586259
This chapter argues that location shooting was central to New Hollywood cinema in the late 1960s and 1970s in terms of economics, politics and aesthetics. Though location shooting is often mentioned in summaries of the New Hollywood’s stylistic break with the classical cinema, it is rarely elaborated on in any detail.This chapter unpacks the complex and overlapping factors that pushed filmmaking away from the studio and traces some of the key trends in location techniques and aesthetics. As this chapter demonstrates, location shooting had already been established as a viable practice during the postwar period, but it took on a new importance in the economic and cultural turmoil of Hollywood at the end of the sixties. The decade that followed became a testing ground for location-based filmmaking, a practice that became central to New Hollywood’s emerging political economy and visual style.
Books by Lawrence Webb
Cinema and audiovisual media are integral to the culture, economy, and social experience of the c... more Cinema and audiovisual media are integral to the culture, economy, and social experience of the contemporary global city. But how has the relationship between cinema and the urban environment evolved in the era of digital technology, new media and globalization? And what are the critical tools and concepts through which we can grasp this vital interconnection between space and screen, viewer and built environment? Engaging with a rapidly transforming urban world, the contributions to this collection rethink the 'cinematic city' at a global scale. By presenting a global constellation of screen cities within one volume, the book encourages juxtapositions and comparisons across the North and South to capture the global city and its dynamics of exchange, hybridity, and circulation. The contributions examine film and screen cultures in a range of locations spanning five continents: The chapters address topics that range across the contemporary film and media landscape, from popular cinema, art cinema, and film festivals to serial television, public screens, multimedia installations, and video art.
'Operating at the intersection of film studies, globalization studies, and urban studies to deliver a powerful, interdisciplinary re-assessment of the role of media and screens in shaping contemporary urban life, this volume addresses issues such as transnational mobility, digital technology, and social inequality … it makes important new connections between the ongoing transformation of cities worldwide and emerging trends in film, television, and new media.' Prof. Christoph Lindner, University of Oregon
'This collection of essays provides a set of innovative, international perspectives on the relationships between cities and screen media in their contemporary, globally networked configurations. It is important reading for anybody with an interest in the dynamics and the tensions of urban culture today.' Prof. Andrew J. Webber, Cambridge University
'Offering an extremely thoughtful mix of established and new voices, this is an intellectually exciting contribution to film scholarship. It adds significant new knowledge and understanding of the links and dissonances between the urban, the local, and the global to shed new light on existing and emerging cinematic cities throughout the world.' Jane Mills, University of New South Wales
Rutgers University Press, 2019
In the 1970s, cities across the United States and Western Europe faced a deep social and politica... more In the 1970s, cities across the United States and Western Europe faced a deep social and political crisis that challenged established principles of planning, economics and urban theory. At the same time, film industries experienced a parallel process of transition, the effects of which rippled through the aesthetic and narrative form of the decade's cinema. The Cinema of Urban Crisis traces a new path through the cinematic legacy of the 1970s by drawing together these intertwined histories of urban and cultural change. Bringing issues of space and place to the fore, the book unpacks the geographical and spatial dynamics of film movements from the New Hollywood to the New German Cinema, showing how the crisis of the seventies and the emerging 'postindustrial' economy brought film and the city together in new configurations.
Chapters cover a range of cities on both sides of the Atlantic, from New York, Philadelphia and San Francisco to London, Paris and Berlin. Integrating analysis of film industries and production practices with detailed considerations of individual texts, the book offers strikingly original close analyses of a wide range of films, from New Hollywood (The Conversation, The King of Marvin Gardens, Rocky) to European art cinema (Alice in the Cities, The Passenger, Tout va Bien) and popular international genres such as the political thriller and the crime film. Focusing on the aesthetic and representational strategies of these films, the book argues that the decade's cinema engaged with - and helped to shape - the passage from the 'urban crisis' of the late sixties to the neoliberal 'urban renaissance' of the early eighties. Splicing ideas from film studies with urban geography and architectural history, the book offers a fresh perspective on a rich period of film history and opens up new directions for critical engagement between film and urban studies.
Reviews:
Selected as a Choice Outstanding Academic Title, 2016.
“The Cinema of Urban Crisis is instantly a classic study on the relationship between the city and the cinema. The breadth and scope of this magnificent work is remarkable; Webb . . . has a seemingly limitless knowledge of urban history, political movements and ideology, and film. . . . This is an outstanding and important work. . . . Essential.” (Choice)
https://www.aup.nl/en/book/9789089646378/the-cinema-of-urban-crisis
Bloomsbury, 2019
How has American cinema engaged with the rapid transformation of cities and urban culture since t... more How has American cinema engaged with the rapid transformation of cities and urban culture since the 1960s? And what role have films and film industries played in shaping and mediating the “postindustrial” city? This collection argues that cinema and cities have become increasingly intertwined in the era of neoliberalism, urban branding, and accelerated gentrification. Examining a wide range of films from Hollywood
blockbusters to indie cinema, it considers the complex, evolving relationship between moving image cultures and the spaces, policies, and politics of US cities from New York, Los Angeles, and Boston to Detroit, Oakland, and Baltimore. The contributors address questions of narrative, genre, and style alongside the urban contexts of production, exhibition, and reception, discussing films including The Friends of Eddie Coyle (1973), Cruising (1980), Desperately Seeking Susan (1985), King of New York (1990), Inception (2010), Frances Ha (2012), Fruitvale Station (2013), Only Lovers Left Alive (2013), and Doctor Strange (2016).
American Cinema and Urban Change: Industry, Genre, and Politics from Nixon to Trump, Johan Andersson, King's College London, UK and Lawrence Webb, University of Sussex, UK
Part One: Film Production and the Postindustrial Turn
Daniel Bell, Post-industrial Society and Los Angeles Cinema c.a 1967–72, Mark Shiel, King's College London, UK
Made in New York: Film Production, the City Government, and Public Protest in the Koch Era, Lawrence Webb, University of Sussex, UK
You Don't Have to Call Us Home, but Please Stay Here: The City Film Commission, Nathan Koob, Oakland University, USA
The Boston Movie Boom, Carlo Rotella, Boston College, USA
Part Two Postindustrial Narratives and Aesthetics
The New Boston and the Grip of Tradition: The Friends of Eddie Coyle (1973), The Brink's Job (1978), and The Verdict (1982), Stanley Corkin, University of Cincinnati, USA
Undead Detroit: Crisis Capitalism and Urban Ruin, Camilla Fojas, University of Virginia, USA
The Flexible Urban Imaginary: Postindustrial Cities in Inception, The Adjustment Bureau, and Doctor Strange, Nick Jones, University of York, UK
A Networked Life: Representations of Connectivity and Structural Inequalities in Fruitvale Station, Amy Corbin, Muhlenberg College, USA
Part Three Cinema and Gentrification 9 For Whom Are the Movies?: The Landscape of Movie Exhibition in the Gentrified City, Brendan Kredell, Oakland University, USA
Ebbets Field and Other Monuments: Outer Borough Neighborhoods and Revanchism in 1990s Cinema, Erica Stein, Vassar College, USA
Gentrification by Genre: Desperately Seeking Susan and the 1980s Screwball, Johan Andersson, King's College London, UK
Frances Doesn't Live Here Anymore: Gender, Crisis, and the Creative City in Frances Ha and The Giant Mechanical Man, Martha Shearer, King's College London, UK
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Articles by Lawrence Webb
https://www.amazon.co.uk/City-American-Cinema-Post-industrialism-Gentrification/dp/1788313186
Citation: Lawrence Webb, "New York City in Cinema", in Oxford Bibliographies in Cinema and Media Studies, Ed. Krin Gabbard (2018).
Keywords: New Hollywood; New York City; media activism; neoliberalism; Fort Apache, the Bronx; Cruising; William Friedkin
This chapter argues that location shooting was central to New Hollywood cinema in the late 1960s and 1970s in terms of economics, politics and aesthetics. Though location shooting is often mentioned in summaries of the New Hollywood’s stylistic break with the classical cinema, it is rarely elaborated on in any detail.This chapter unpacks the complex and overlapping factors that pushed filmmaking away from the studio and traces some of the key trends in location techniques and aesthetics. As this chapter demonstrates, location shooting had already been established as a viable practice during the postwar period, but it took on a new importance in the economic and cultural turmoil of Hollywood at the end of the sixties. The decade that followed became a testing ground for location-based filmmaking, a practice that became central to New Hollywood’s emerging political economy and visual style.
Books by Lawrence Webb
'Operating at the intersection of film studies, globalization studies, and urban studies to deliver a powerful, interdisciplinary re-assessment of the role of media and screens in shaping contemporary urban life, this volume addresses issues such as transnational mobility, digital technology, and social inequality … it makes important new connections between the ongoing transformation of cities worldwide and emerging trends in film, television, and new media.' Prof. Christoph Lindner, University of Oregon
'This collection of essays provides a set of innovative, international perspectives on the relationships between cities and screen media in their contemporary, globally networked configurations. It is important reading for anybody with an interest in the dynamics and the tensions of urban culture today.' Prof. Andrew J. Webber, Cambridge University
'Offering an extremely thoughtful mix of established and new voices, this is an intellectually exciting contribution to film scholarship. It adds significant new knowledge and understanding of the links and dissonances between the urban, the local, and the global to shed new light on existing and emerging cinematic cities throughout the world.' Jane Mills, University of New South Wales
Chapters cover a range of cities on both sides of the Atlantic, from New York, Philadelphia and San Francisco to London, Paris and Berlin. Integrating analysis of film industries and production practices with detailed considerations of individual texts, the book offers strikingly original close analyses of a wide range of films, from New Hollywood (The Conversation, The King of Marvin Gardens, Rocky) to European art cinema (Alice in the Cities, The Passenger, Tout va Bien) and popular international genres such as the political thriller and the crime film. Focusing on the aesthetic and representational strategies of these films, the book argues that the decade's cinema engaged with - and helped to shape - the passage from the 'urban crisis' of the late sixties to the neoliberal 'urban renaissance' of the early eighties. Splicing ideas from film studies with urban geography and architectural history, the book offers a fresh perspective on a rich period of film history and opens up new directions for critical engagement between film and urban studies.
Reviews:
Selected as a Choice Outstanding Academic Title, 2016.
“The Cinema of Urban Crisis is instantly a classic study on the relationship between the city and the cinema. The breadth and scope of this magnificent work is remarkable; Webb . . . has a seemingly limitless knowledge of urban history, political movements and ideology, and film. . . . This is an outstanding and important work. . . . Essential.” (Choice)
https://www.aup.nl/en/book/9789089646378/the-cinema-of-urban-crisis
blockbusters to indie cinema, it considers the complex, evolving relationship between moving image cultures and the spaces, policies, and politics of US cities from New York, Los Angeles, and Boston to Detroit, Oakland, and Baltimore. The contributors address questions of narrative, genre, and style alongside the urban contexts of production, exhibition, and reception, discussing films including The Friends of Eddie Coyle (1973), Cruising (1980), Desperately Seeking Susan (1985), King of New York (1990), Inception (2010), Frances Ha (2012), Fruitvale Station (2013), Only Lovers Left Alive (2013), and Doctor Strange (2016).
American Cinema and Urban Change: Industry, Genre, and Politics from Nixon to Trump, Johan Andersson, King's College London, UK and Lawrence Webb, University of Sussex, UK
Part One: Film Production and the Postindustrial Turn
Daniel Bell, Post-industrial Society and Los Angeles Cinema c.a 1967–72, Mark Shiel, King's College London, UK
Made in New York: Film Production, the City Government, and Public Protest in the Koch Era, Lawrence Webb, University of Sussex, UK
You Don't Have to Call Us Home, but Please Stay Here: The City Film Commission, Nathan Koob, Oakland University, USA
The Boston Movie Boom, Carlo Rotella, Boston College, USA
Part Two Postindustrial Narratives and Aesthetics
The New Boston and the Grip of Tradition: The Friends of Eddie Coyle (1973), The Brink's Job (1978), and The Verdict (1982), Stanley Corkin, University of Cincinnati, USA
Undead Detroit: Crisis Capitalism and Urban Ruin, Camilla Fojas, University of Virginia, USA
The Flexible Urban Imaginary: Postindustrial Cities in Inception, The Adjustment Bureau, and Doctor Strange, Nick Jones, University of York, UK
A Networked Life: Representations of Connectivity and Structural Inequalities in Fruitvale Station, Amy Corbin, Muhlenberg College, USA
Part Three Cinema and Gentrification 9 For Whom Are the Movies?: The Landscape of Movie Exhibition in the Gentrified City, Brendan Kredell, Oakland University, USA
Ebbets Field and Other Monuments: Outer Borough Neighborhoods and Revanchism in 1990s Cinema, Erica Stein, Vassar College, USA
Gentrification by Genre: Desperately Seeking Susan and the 1980s Screwball, Johan Andersson, King's College London, UK
Frances Doesn't Live Here Anymore: Gender, Crisis, and the Creative City in Frances Ha and The Giant Mechanical Man, Martha Shearer, King's College London, UK
https://www.amazon.co.uk/City-American-Cinema-Post-industrialism-Gentrification/dp/1788313186
Citation: Lawrence Webb, "New York City in Cinema", in Oxford Bibliographies in Cinema and Media Studies, Ed. Krin Gabbard (2018).
Keywords: New Hollywood; New York City; media activism; neoliberalism; Fort Apache, the Bronx; Cruising; William Friedkin
This chapter argues that location shooting was central to New Hollywood cinema in the late 1960s and 1970s in terms of economics, politics and aesthetics. Though location shooting is often mentioned in summaries of the New Hollywood’s stylistic break with the classical cinema, it is rarely elaborated on in any detail.This chapter unpacks the complex and overlapping factors that pushed filmmaking away from the studio and traces some of the key trends in location techniques and aesthetics. As this chapter demonstrates, location shooting had already been established as a viable practice during the postwar period, but it took on a new importance in the economic and cultural turmoil of Hollywood at the end of the sixties. The decade that followed became a testing ground for location-based filmmaking, a practice that became central to New Hollywood’s emerging political economy and visual style.
'Operating at the intersection of film studies, globalization studies, and urban studies to deliver a powerful, interdisciplinary re-assessment of the role of media and screens in shaping contemporary urban life, this volume addresses issues such as transnational mobility, digital technology, and social inequality … it makes important new connections between the ongoing transformation of cities worldwide and emerging trends in film, television, and new media.' Prof. Christoph Lindner, University of Oregon
'This collection of essays provides a set of innovative, international perspectives on the relationships between cities and screen media in their contemporary, globally networked configurations. It is important reading for anybody with an interest in the dynamics and the tensions of urban culture today.' Prof. Andrew J. Webber, Cambridge University
'Offering an extremely thoughtful mix of established and new voices, this is an intellectually exciting contribution to film scholarship. It adds significant new knowledge and understanding of the links and dissonances between the urban, the local, and the global to shed new light on existing and emerging cinematic cities throughout the world.' Jane Mills, University of New South Wales
Chapters cover a range of cities on both sides of the Atlantic, from New York, Philadelphia and San Francisco to London, Paris and Berlin. Integrating analysis of film industries and production practices with detailed considerations of individual texts, the book offers strikingly original close analyses of a wide range of films, from New Hollywood (The Conversation, The King of Marvin Gardens, Rocky) to European art cinema (Alice in the Cities, The Passenger, Tout va Bien) and popular international genres such as the political thriller and the crime film. Focusing on the aesthetic and representational strategies of these films, the book argues that the decade's cinema engaged with - and helped to shape - the passage from the 'urban crisis' of the late sixties to the neoliberal 'urban renaissance' of the early eighties. Splicing ideas from film studies with urban geography and architectural history, the book offers a fresh perspective on a rich period of film history and opens up new directions for critical engagement between film and urban studies.
Reviews:
Selected as a Choice Outstanding Academic Title, 2016.
“The Cinema of Urban Crisis is instantly a classic study on the relationship between the city and the cinema. The breadth and scope of this magnificent work is remarkable; Webb . . . has a seemingly limitless knowledge of urban history, political movements and ideology, and film. . . . This is an outstanding and important work. . . . Essential.” (Choice)
https://www.aup.nl/en/book/9789089646378/the-cinema-of-urban-crisis
blockbusters to indie cinema, it considers the complex, evolving relationship between moving image cultures and the spaces, policies, and politics of US cities from New York, Los Angeles, and Boston to Detroit, Oakland, and Baltimore. The contributors address questions of narrative, genre, and style alongside the urban contexts of production, exhibition, and reception, discussing films including The Friends of Eddie Coyle (1973), Cruising (1980), Desperately Seeking Susan (1985), King of New York (1990), Inception (2010), Frances Ha (2012), Fruitvale Station (2013), Only Lovers Left Alive (2013), and Doctor Strange (2016).
American Cinema and Urban Change: Industry, Genre, and Politics from Nixon to Trump, Johan Andersson, King's College London, UK and Lawrence Webb, University of Sussex, UK
Part One: Film Production and the Postindustrial Turn
Daniel Bell, Post-industrial Society and Los Angeles Cinema c.a 1967–72, Mark Shiel, King's College London, UK
Made in New York: Film Production, the City Government, and Public Protest in the Koch Era, Lawrence Webb, University of Sussex, UK
You Don't Have to Call Us Home, but Please Stay Here: The City Film Commission, Nathan Koob, Oakland University, USA
The Boston Movie Boom, Carlo Rotella, Boston College, USA
Part Two Postindustrial Narratives and Aesthetics
The New Boston and the Grip of Tradition: The Friends of Eddie Coyle (1973), The Brink's Job (1978), and The Verdict (1982), Stanley Corkin, University of Cincinnati, USA
Undead Detroit: Crisis Capitalism and Urban Ruin, Camilla Fojas, University of Virginia, USA
The Flexible Urban Imaginary: Postindustrial Cities in Inception, The Adjustment Bureau, and Doctor Strange, Nick Jones, University of York, UK
A Networked Life: Representations of Connectivity and Structural Inequalities in Fruitvale Station, Amy Corbin, Muhlenberg College, USA
Part Three Cinema and Gentrification 9 For Whom Are the Movies?: The Landscape of Movie Exhibition in the Gentrified City, Brendan Kredell, Oakland University, USA
Ebbets Field and Other Monuments: Outer Borough Neighborhoods and Revanchism in 1990s Cinema, Erica Stein, Vassar College, USA
Gentrification by Genre: Desperately Seeking Susan and the 1980s Screwball, Johan Andersson, King's College London, UK
Frances Doesn't Live Here Anymore: Gender, Crisis, and the Creative City in Frances Ha and The Giant Mechanical Man, Martha Shearer, King's College London, UK