By Mark Shiel
This publication brings jointly the literature of city sociology and picture reports to discover new analytical and theoretical techniques to the connection among cinema and the town, and to teach how those impression at the realities of existence in city societies.
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14 Janet Wasko has pointed out that (as of 1994) “the historical strengths of the US entertainment industry still persist. ”16 The situation outside Europe is worse, where the financial and technological gap is even wider, making film production all the more difficult. Thus the question of parallel and uneven development is the main thread linking the chapters in this part of the book. J. Paul Narkunas analyses how the recent history and political economy of Vietnam, with specific reference to the activities there of the IMF and TNCs, are articulated and critiqued by the film Cyclo (1995), whose art-house form allegorizes the erosion of national/state power which results from the recolonization of post-occupation space by transnational corporatism.
Dickens, Las Vegas: The Social Production of an All-American City (Oxford: Blackwell, 1999). 3 A number of important studies of the relationship between cinema and the city have appeared in recent years including, from an architectural perspective, François Penz et al. ), The Cinematic City (London: Routledge, 1997); and from a broad cultural studies perspective, James Donald, Imagining the Modern City (London: Athlone, 1999). ), Film Studies: Critical Approaches (Oxford: Oxford University Press, 2000), pp.
193–9. Also of relevance is Don Mitchell, Cultural Geography: A Critical Introduction (Oxford: Blackwell, 2000), pp. 43–9. , 1982), and Hollywood in the Information Age: Behind the Silver Screen (Cambridge: Polity Press, 1988); and Douglas Gomery, Shared Pleasures: A History of Movie Presentation in the United States (London: BFI, 1992). On European cinema, see Pierre Sorlin’s European Cinemas, European Societies 1939–1990 (London: Routledge, 1990); and Geoffrey NowellSmith and Steven Ricci’s Hollywood and Europe: Economics, Culture, National Identity, 1945–95 (London: BFI, 1998).