Lawrence Webb
Lawrence Webb
Senior Lecturer in Film Studies, University of Sussex (Brighton, UK)
http://www.sussex.ac.uk/profiles/350192
[email protected]
Senior Lecturer in Film Studies, University of Sussex (Brighton, UK)
http://www.sussex.ac.uk/profiles/350192
[email protected]
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Articles
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
'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