Divided City and Its New Cinemas, 1920-1980
Regular price
€112.99
14 days return policy
Shipping & Delivery
1939
A01=Amy Murphy
activism
activist
American city
Asian American
Author_Amy Murphy
barrio
Black cinema
Bunker Hill
Category=ATFA
Category=GTC
Charles Burnett
Charles Sheeler
Chicago School
Chicano
Chinatown
city symphony
commuter
contact zone
David Garcia
documentary
downtown
Efrain Gutierrez
enclave
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
film Chan is Missing
film history
film I am Joaquin
film Killer of Sheep
film Manhattan
film Please Don't Bury Me Alive
film Requiem 29
film The Exiles
filming location
financial district
freeway
freeway system
garden city
geography
ghetto
gray zone
Greenbelt
identity
independent film
Indian
industrial city
Kent Mackenzie
liberation
Los Angeles
Luis Valdez
map
marginalization
metropolitanism
Mexican American
mobility
Moctesuma Esparza
movie Chan is Missing
movie I am Joaquin
movie Killer of Sheep
movie Manhattan
movie Please Don't Bury Me Alive
movie Requiem 29
movie The Exiles
Native American
neorealism
New Deal
New York City
pan-Asian
Paul Strand
planning
postwar
race
race film
Ralph Steiner
relocation
representation
San Antonio
San Francisco
segregation
self-representation
slum
suburban
suburbanization
survivance
transnational enclave
urban commodification
urban history
urban planning
urban renewal
Walt Whitman
Washington
Watts
Wayne Wang
Westside San Antonio
Willard Van Dyke
World's Fair
zoning
Product details
- ISBN 9780252049712
- Weight: 454g
- Dimensions: 152 x 229mm
- Publication Date: 31 Mar 2026
- Publisher: University of Illinois Press
- Publication City/Country: US
- Product Form: Hardback
Secure
checkout
Fast Shipping
Easy returns
Film offers a powerful witness to the historical effects of segregation. Twentieth-century American urban policy favored "white flight" to the suburbs while confining other racial and ethnic groups in urban cores. Mainstream cinema, in turn, perpetuated racial stereotypes that justified this confinement. Amy Murphy revisits this history via six independent films, each mapping a distinct urban geography at a particular moment in the century.
Murphy's analysis reveals that certain veins of postwar independent filmmaking grew out of specific policy failures of the American city. With increased access to media production, such filmmakers created new cinemas from within the segregated city that expanded avenues for self-representation.
Informed and insightful, The Divided City and Its New Cinemas, 1920–1980 examines how often-raw independent films pioneered cinematic exploration of identities impacted by space and time, and by geography and history.
Murphy's analysis reveals that certain veins of postwar independent filmmaking grew out of specific policy failures of the American city. With increased access to media production, such filmmakers created new cinemas from within the segregated city that expanded avenues for self-representation.
Informed and insightful, The Divided City and Its New Cinemas, 1920–1980 examines how often-raw independent films pioneered cinematic exploration of identities impacted by space and time, and by geography and history.
Amy Murphy is a professor of architecture at the University of Southern California.
