The occupied town of Patrick Modiano has not been able to erase the Bretonian surreal city. It is associated with sensations such as disorientation and claustrophobia, and appeals to the imagination of the reader to solve the incidents that happen in it. Its design is the result of the selection of captivating spaces where, after being obscured by the war, happen improbable coincidences, the atmosphere is hazy, they seem dreamed because they are far, wounded, lonely, unheimlich.

In an approach to the city that refuses to be confined to its merely physical features and includes an interdisciplinary perspective, it is crucial to find mechanisms to study its multiple dimensions and experiences. This paper proposes a reflection on the existing research in fields such as Architecture and Urbanism, discussing the importance of specific methodologies for the analysis of territory. This discussion builds on an example of research about the connections between a city and its waterfront, the case of Lisbon. Here, the main methodology is based on in situ observation and its subsequent systematization, finally configuring a graphic and visual approach to the study of public space. This methodology can be applied to other urban realities not only for the analysis of public space but also for its design.

Germany had never experienced such devastation as the one that the air raids left in its cities at the end of\nSecond World War. Despite its magnitude, there are almost no documentary sources that deal with this disaster, and its\nabsence in German historic memory is disturbing. Thinkers such as Enzensberger (2013) and Sebald (2003) have built\ntheories that analyze this phenomenon. From their reflections, the current paper pretends to read two testimonies of this\nperiod, I Had Nowhere to Go, by the Lithuanian artist Jonas Mekas, and The Hidden Damage, by Irish writer James\nStern, with the purpose of understanding this silence, with the hypothesis that as both authors looked the destruction,\nthey also witnessed the conformation of an intentional oblivion.

Numerosas peliculas han sido influidas, de forma directa o indirecta, por la obra pictorica de Edward Hopper. Este articulo estudia el dialogo entre cine y pintura con los cuadros del artista norteamericano como base. Para este analisis se han elegido peliculas en las que, de un modo u otro, se aprecian claros ecos del arte de Hopper. Estos filmes son L’Eclisse (1962), de Michelangelo Antonioni; Strangers on a Train (1951), de Alfred Hitchcock, y Manchester by the Sea (2016), de Kenneth Lonergan.