Abstract
This article employs a comparative approach to connect cities and cinemas by discussing the presence of the urban space in the films Foreign Land (Terra Estrangeira, Walter Salles and Daniela Thomas, 1995), Head-On (Gegen die Wand, Fatih Akin,2004), Import Export (Ulrich Seidl, 2007) and What Time Is It There? (Ni Neibian Jidian, Tsai Ming-liang, 2001). Shot mainly on location, these films are structured upon a movement between two cities, located in two different countries, and tackle questions of time and space and the fabrication of memory. A focus on their interconnectedness enables me to turn away from usual centre-periphery schemes and propose a new, and more complex, geography for recent and contemporary cinema.
Highlights
A number of films made in the past twenty years across the world share a common ground in their privileged relation with the cities in
By thinking of cinema as a spatial art, one which promotes a journey through different sites, this article employs a comparative approach to discuss the presence of the urban space in the films Foreign Land (Terra Estrangeira, Walter Salles and Daniela Thomas, 1995), Head-On (Gegen die Wand, Fatih Akin, 2004), Import Export (Ulrich Seidl, 2007) and What Time Is It There? (Ni Neibian Jidian, Tsai Ming-liang, 2001)
I endeavour to study how this movement promotes the cinematic encounter of two geographies, leading to questions connected to time and space and the fabrication of memory
Summary
A number of films made in the past twenty years across the world share a common ground in their privileged relation with the cities in.
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