Titlebook: London on Film; Pam Hirsch,Chris O‘Rourke Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 British Cinema.Urban Studies.Arch

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Wanting More: Gender, Space and Desire in , and ,,sions of a cultural space emerging from London in the preceding months and years. . and . were both released in 1965. One follows the fortunes of Diana Scott, a swinging subject in a frivolous and superficial London; the other weaves together the narratives of Wife, Girl and the corpse of a dead wom

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,A Melancholy Topography: Patrick Keiller’s ,,g particularly on Keiller’s invention of the ‘Robinson’ character as an emblematically disgruntled Everyman: an urbanist swayed not so much by the ebb and flow of the Baudelairean crowd as the blips and dips of the free market economy, whose observations transform the familiar city into a strange ‘a(chǎn)

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From Dogpower to Ratropolis: London in Animated Film,This chapter demonstrates the creative vitality of the animated tradition’s engagement with London through an exemplary analysis of three fully animated, feature-length films set in the metropolis: . (1961), . (1986), and . (2006). These mainstream films all feature anthropomorphic creatures as prot

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,The Cinematic Revival of ‘Low London’ in the Age of Speculative Urbanism,ple, an article published in ., evocatively titled ‘A Tortured Heap of Towers: The London Skyline of Tomorrow’, offers 3D images of the London skyline of the future, concentrating on a series of new skyscrapers deemed ‘the cluster’. For Gwyn Richards, head of design of the City of London’s planning

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London in Transition: Sites of Melancholy,. Opening with a discussion of two versions of Lionel Bart’s song, ‘Fings Ain’t Wot They Used T’Be’, the chapter argues against a generalised nostalgia for the vanished city. Instead it seeks to demonstrate the importance of attention to the particularity of what has been lost, its formal presentati

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