City That Never Sleeps: New York and the Filmic Imagination by Murray Pomerance, Wheeler Winston Dixon, Barry Keith Grant,

By Murray Pomerance, Wheeler Winston Dixon, Barry Keith Grant, Aaron Baker, Gwendolyn Audrey Foster, Paula J. Massood, Steven Alan Carr, Joe McElhaney, William Rothman, David Sterritt, David Gerstner, Randy Thom, Elizabeth Weis, Scott Bukatman, Pamela Grace,

Ny, greater than the other urban, has held a unique fascination for filmmakers and audience. In each decade of Hollywood filmmaking, artists of the reveal have fixated upon this attention-grabbing position for its tensions and delivers, spectacular illumination and fearsome darkness.

The glittering skyscrapers of such motion pictures as in town have shadowed the attribute seedy streets during which determined, passionate tales have performed out--as in Scandal Sheet and The Pawnbroker. In different motion pictures, the town is a cauldron of vibrant lighting fixtures, expertise, empire, egotism, worry, starvation, and change--the scenic epitome of the USA within the smooth age.

From highway Scene and Breakfast at Tiffany's to Rosemary's child, The Warriors, and twenty fifth Hour, the 16 essays during this publication discover the cinematic illustration of recent York as a urban of expertise, as a locus of ideographic characters and areas, as a urban of strikes and traps, and as a website of allurement and chance. members examine the paintings of Woody Allen, Blake Edwards, Alfred Hitchcock, Gregory l. a. Cava, Spike Lee, Sidney Lumet, Vincente Minnelli, Roman Polanski, Martin Scorsese, Andy Warhol, and a variety of others.

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Extra info for City That Never Sleeps: New York and the Filmic Imagination

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It becomes a virtual synecdoche for the entire city of New York: ranging from Tiffany’s to the Fifth Avenue Branch of the New York Public Library. ” Within this notion of New York City and the centrality of Fifth Avenue, the film’s use of the Central Park band shell raises a profound insight into modern urban life. The scene in question breaks markedly in tone with the rest of the film. ” Determined to uncover the man’s identity, he leaves the apartment and walks toward Central Park to see if the man will follow him.

What if the public that should be having a good time is absent, not just physically and momentarily, but in a deeper, more emblematic way? What if, for the moment, the public space is abandoned—a mere shell of its designated social function? What if New York as a thriving model of social vitality is suddenly erased?  After the explosion in urban populations following the Industrial Revolution, urban designers, attempting to compensate for the potentially isolating and alienating fragmentation of modern urban life, designed natural sites like Central Park into cities so that people might seek solace from and alleviate the cramped pressures of modern life.

Its main purpose is to capture the city (in both senses of the word “capture”). The public spaces of Times Square and Coney Island are the sites for its balletic interludes. The bustle and compressed sprawl of the city is the kaleidoscopic precondition for the narrative action; it seduces its ostensible seducers. On the Town is the exemplary narrative of arrival. Using the language of Gilles Deleuze, one could regard narratives of arrival as emblematic movementimages, as protagonists explore and possess a set of new spaces.

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