Abstract
ABSTRACT The city symphony, which explores the new arrangements of space and time in modernity through montage and photogeny, displays the core characteristics of a cine-genre. However, this famously non-narrative form also contains stubbornly narrative elements, expressed as rhythm, that open onto possibilities for reflexive as well as urban critique. By exploring these elements in Tan Pin Pin’s In Time to Come (2017), I show how the city symphony as cine-genre encompasses a striking heterogeneity of form, offering an excavation of the rules that regulate urban existence.
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