Cities and there influence in film.

Donald (2010, P.323) writes that cinema in it's early days "was almost exclusively an urban phenomenon." It is natural then that the cityscape would often take up a role in many films and likewise influence other films. Stout (1999 P.147) explains that during the time of modernism there was "a whole new kind of visual culture emerged rooted in the observation of the new urban reality, both social and physical." The city as a new concept proved fascinating for film makers at the time and provided a lot of inspiration for film. More often than not the city is portrayed as a negative space. In the film Metropolis, the massive city is split into the top of buildings with elegent gardens for the rich, while the working class slave away on vast machines at the bottom of the city. Stout (1999, p.150) explains that in Metropolis "we see the modern citadels of faceless power looming over the dehumanizing structures of class segregation and oppression." Similarly in the film Candyman, Donald (2010, P.324) Explains that "The film is punctuated by aerial shots of Chicago's townscapes: the circulation of traffic on freeways, barrack-like housing, monumental but silent amphitheaters. From that God's eye view, the city presents a dehumanized geometry. " Again reflecting the fears of what a Modern city could possibly become or has already become. Seeing this it is clear that a lot of creatives in the 20th century saw the city as a negative thing, often making references to how despite grouping a lot of people together, it manages to isolate us from talking to people. An interesting way that cities are represented in film is that in Detective films. Donald (2010 P.325) explains that "the detective story stages the city as enigma: a dangerous but fascinating network of often subterranean relationships in need of decipherment." This is a very interesting angle as It could be seen that cities with there winding streets and separation of classs in such a dense area can create new legends and stories that a detective character must solve. It provides an interesting snapshot in a creatives mind when the city is framed as a puzzle that needs to be solved. Of course this does not just apply to the time of modernism, Stout (1999 P.150) explains that "The project of comprehending the modern city visually played, and continues to play, a central role in the history of art and consciousness." When looking at films that portray cities of the future it is often bleak. Bladerunner showcases a highly technologically advanced city drowning in filth and pollution. Meanwhile the Total Recall reboot shows a massive divide between the rich and poor, showing both an optimistic and pessimistic view of cities to come. The idea of the city being a negative element in films and other fiction is a popular one that is unlikely to go away anytime soon.