In/different cities: a case for contact at the margins

Long before embarking on the academic life of a geographer, I made films about cities. In the following essay, I reflect on a series of my short films, shot in the magical aesthetic of super8 film, which meditate on themes that continue to preoccupy and interest many urban geographers, in particular, the dialectic between social life and the built landscape of contemporary urban space. A central argument suggested by these cinematic excursions is that the margins of urban space share an immediate homology with the margins of the social self and that experiencing difference in spatial life is a political and social good analogous to regular encounter with difference in the lives of strangers. Such experiences of difference, these films suggest, are under threat in the neoliberal city in which gentrification, privatisation, labour deregulation and urban policing increasingly homogenise and politically neutralise the social landscape. The films can be viewed at http://www.brettstory.com/category/films-video/     

Grasslands as transitional spaces of play: Mongol children’s reimagination of the world in cinematic representation

ABSTRACT

This article examines children’s geographies in cinematic representation. It argues that cinematic landscape that intimates what D. W. Winnicott conceives as ‘transitional space’ contributes to a cinematic rendering of the otherness of childhood. Taking the Chinese movie Mongolian Ping-Pong (2005, dir. Ning Hao) as a case study, this article illustrates how the cinematic space of the grasslands is transformed into multiple transitional spaces of play for the Mongol child protagonists owing to the filmmaker’s employment of cinematic landscape, while a ping-pong ball discovered by one of the children becomes their ‘transitional object’. In transitional spaces, the children safely and creatively manipulate cultural resources of diverse scales to understand the social-cultural identity of the ball. Consequently, their unique vision of the world unfolds. The filmmaker’s cinematic treatment reveals his celebration of the children’s creativity. He sympathises that they cannot escape from acculturation once they start formal schooling in a Han-dominated society.     

From Paper to Celluloid and Back Again: Finance and Form in Jorge Délano’s Films

This essay argues that our current understanding of the cinematic work by the pioneering Chilean film director Jorge Délano obscures a sophisticated interaction between politics, art and economics, one that reveals unexamined aspects of how the film industry developed in Chile. Most notably, it argues that Délano’s illustrated political satire magazine Topaze was central to the development of early sound cinema in the country. Following Rielle Navitski, the essay utilizes and examines tensions between models drawn from periodical studies and the concepts of remediation and intermediality in film studies. Examining illustrations from the first three years of Topaze’s production (1931–1933) in the context of the country’s economic situation, the essay argues that Délano remediated cinema in Topaze as a strategy of capital accumulation. This analysis also makes it possible to see how one of his sound films, Escándalo (1940), similarly remediated the illustrated paper periodical as he pursued financing for the production of cinematic commodities for export. The essay ends by examining the relationship between these issues and the political situation in early Cold War Chile.     

The Insistent Fringe: Moving Images and Historical Consciousness

Using the form of cinematic montage, this essay explores the nature of historical consciousness in a mass-mediated culture where historical discourse takes the form of both showing and saying, moving images and written words. The title draws upon and argues with Roland Barthes's critique of the duplicity of the "insistent fringes" that supposedly reduce and naturalize "Roman-ness" to fringed hair in popular historical film. Barthes presumes a "certainty" in such a cinematic image, and hence deems it mythological—that is, "it goes without saying." Countering Barthes with Walter Benjamin, one might argue that the "insistent fringe" is insistently historical and constitutes, in its insistence, a "dialectical image": a site and sight full of contradictions and open to excavation. That is, it concretizes historiographic saying by showing. Neither historiographic saying nor showing are privileged in medias res —in a culture saturated in images and textuality, in competing modes of expression each of which has its limits. Historical consciousness is sparked and constituted from both showing and saying. Indeed, the "insistent fringe" is precisely not clear-cut—and, if it insists on anything, it is its serrated nature, its articulation as a limit that differs from, but is constituted by, the elements of the two distinct domains which it both separates and connects. Similarly, there is a dynamic, functional, and hardly clear-cut relation that exists between the mythological histories wrought by Hollywood cinema (and other visual arts) and the academic histories written by scholars. They coexist, compete, and cooperate in a contingent, heteroglossic, and always shifting ratio—thus constituting the "rationality" of contemporary historical consciousness.     

Out of the Ivy and into the Arctic: Imitation Coral Reconstruction in Cross-Cultural Contexts

This essay discusses imitation coral reconstruction workshops based on a recipe from a sixteenth-century “book of secrets” that took place in three different educational contexts: Columbia University, Nunavut Arctic College, and Universität Hamburg. It reflects on the utility of reconstruction and material literacy as present-day history of science methodologies in which scholarly textual interpretation meets physical research. It also considers the nature of cultural heritage in shaping material practice through an Inuit cultural context, in which the acquisition and dissemination of knowledge is not rooted in textual traditions, but bodily embedded in oral histories, craft technology, and land stewardship. The essay also presents suggestions for new collaborative practices between humanists, artisans, and scientists that can be facilitated by reconstruction methodology.     

Making heritage in an Australian coastal tourist resort: Constructing a cultural landscape through a comparative narrative

Abstract

The concept of cultural landscape embodies a dynamic understanding of history, in which past, present and future are seamlessly connected. This paper, drawn from a larger research project investigating the integration of tourism in small coastal settlements, introduces a multi‐method research strategy for interpreting cultural landscapes of tourism. The case study of a well‐known resort area on the east coast of Australia demonstrates the dynamic relationship between patterns in the landscape narrative and patterns in the built environment of small coastal settlements. In Noosa, a distinctive built form has evolved in parallel with the narrative of the place as a relaxed but stylish resort village dominated by nature. Both the narrative and physical landscape have been shaped by local and external processes of constant comparison and contrast with well known Australian and international coastal resorts. The paper illustrates how recurring themes in the local dialogue of place have flowed between key urban design/planning decisions, ephemeral tourism literature, publications, and the perceptions of residents, tourists and key informants as reported in focused conversational interviews.     

HISTORY AND INCOMPLETENESS

Vera Schwarcz's Place and Memory in the Singing Crane Garden examines the moral, philosophical, and historical meanings of a garden built by a Manchu Chinese prince, subsequently destroyed by British imperialists, commandeered by Red Guard radicals, and finally transformed into the grounds of an art museum. Reading Singing Crane Garden in the context of Schwarcz's previous writings on Chinese intellectuals and Jewish traditions, as well as insights provided by critical philosophers and geographers, this essay explores the moral and ethical dimensions of locating history in specific "emplacements". The argument begins by examining the phenomenology of place articulated by Edward Casey, weaves through discussions of Chinese spatiality, embodiment, and garden aesthetics, and comments on Schwarcz's study of broken monuments and stele through comparisons with Classical Chinese writers and the contemporary American poet Louise Glück. Comparisons are made between the destruction of the garden by the British forces of James Elgin, the murder of the journalist Thomas Bowlby, and the purging, imprisonment, torture, and brutality against scholars and intellectuals by the Red Guards under Mao. The essay closes with commentaries on Schwarcz's reflections concerning continuing global atrocities, and new insights into the ways that understanding landscape architecture as a form of history can bring meaning to questions of memory, loss, and the desire to evoke unrecoverable experiences.     

Feeling at Home: Gender and Creative Agency at Red House

Much has been written about Red House, the home of Jane and William Morris between 1859 and 1865, as an example of architectural innovation and a place of artistic fellowship. In accounts by Morris's contemporaries and subsequent scholars, Red House has also been represented as a site of conviviality, creativity and youthful idealism, where a utopian way of life proved unable to withstand the vagaries of mature responsibilities. This essay reconsiders the happy memories attached to Red House and explores how the affective investments that linked people, spaces and objects were created and enhanced by a shared process of creative improvisation there. Drawing on recent scholarly work on feelings, emotions and affect, this essay pays particular attention to the gendered experience of intimacy and creativity at Red House and seeks to redress a tendency to discount women's creative agency in the household. In the web of relationships at Red House, expressed and enacted through practices of creative labour and hospitality, Jane Morris and Georgiana Burne-Jones articulated an increased capacity for agency not merely as aesthetic objects but as creative subjects.     

Geography and prehistory,a survey of the literature with a select bibliography

This brief review explores the relationship between geography and prehistory. Various major themes have characterized this relationship: the study of distributions and locations; the exploration of environmental influences and ecosystems; the reconstruction of past environments; the establishment of the rôle of man as an agent of ecological change; and the discernment of the development of the landscape. The links between these two disciplines, which have been provided by these common research themes, have recently been strengthened by the adoption of a new methodology.     

6. WHAT'S IN A CONCEPT? THE KINETIC EMPIRE OF THE COMANCHES

This essay revisits the main themes and arguments put forward in The Comanche Empire: indigenous agency; spatial reorientation in the writing of colonial histories; the composition of the Comanche empire and its impact on the history of North America. It also responds to a number of specific issues raised by the roundtable participants: differences and similarities between indigenous and Euro‐colonial power regimes; balancing of culture‐specific frameworks with broad‐gauge political economic analysis; linkages between indigenous agency and indigenous sovereignty in colonial encounters; the question of periodization in writing Native American and colonial histories. Finally, the essay points to new ways of understanding, conceptualizing, and comparing nonterritorial nomadic empires by introducing the concept of “kinetic empire,” which refers to a flexible imperial organization that revolves around a set of mobile activities and relies on selective nodal control of key resources.     

The imperative of struggle: feminist and gender geographies in the United States

Abstract

The groundbreaking work of feminist and gender geographies has substantially advanced the nature of inquiry in the United States. In centering gendered ways of knowing, geographers have reframed disciplinary analyses of landscape, place, and space by troubling the normativities associated with lives, politics, and location. Though undoubtedly thriving, the visibility and impact of feminist and gender geographies have been confronted by history and changing political contexts. This essay extracts challenges to conceptualizing and doing feminist and gender geographies in the United States. By linking national freedom struggles to the current political climate and by reviewing the landscape of U.S. higher education, the essay asserts that scholars engaged with feminist and gender geographies can find utility in reflection, and by doing so, can resist contemporary disciplinary challenges to theory and practice.     

Power and Ethnicity History and Anthropology

This essay reflects on the relationship between anthropological and historical scholarship of ethnicity, picking up on themes explored by Andre Gingrich, by considering the epistemological and evidentiary limitations of social scientific and historical analysis and reconstruction. Beginning with the consideration of the pioneering transdisciplinary efforts of Robert Darnton and Clifford Geertz, it argues that many of the weaknesses ascribed to such efforts are actually part of the nature of social scientific investigation which, in the terms of Peter Winch, must take into account two sets of relationships: that of the relationship between the scientist and the phenomena that he or she observes and the symbolic system that he or she shares with other scientists, which can only be understood from the social context of common activity. How these two relationships challenge social scientific analysis of ethnicity are examined through a consideration of the difficulties of applying Anthony Smith's definition of an ethnie to either Fredrik Barth's classic essay on “Pathan Identity and its Maintenance” or Helmut Reimitz's study of Frankish identity. It concludes that neither anthropologists nor historians are simply describing societies as they are or as they were but rather attempt to describe societies as witnesses within them thought they should be, and we do this for our own society, not for those of the participants, past or present.     

The Origins of European Fascism: Memory of Violence in Michael Haneke’s The White Ribbon

Michael Haneke’s film The White Ribbon (2009) narrates violent attacks that disrupt the cyclical life of a German village in 1913–14. The narrator frames the violence as a study of the origins of fascism: the alleged perpetrators are children, who rebel against the disciplinary powers of patriarchal authority. Coming to maturity during World War I, they will have become the generation of Nazism’s followers. In contrast to psycho-historical readings of The White Ribbon as a cinematic exploration of the causal relationship between the authoritarian formation of the juvenile subject and her susceptibility to fascism’s redemptive illusions, I propose an anti-psychological interpretation of the film. This reading seeks to understand The White Ribbon in terms of Haneke’s aesthetic and formal choices, which underpin his notion of “ethical spectatorship.” I argue that the film offers a dual metaphorical construction of the nexus between memory and the cinematic image, and of the mnemonic and affective aspects of the history of violence. Haneke forges a link between the European attitude to its history of fascism and its ongoing politics of exclusion, arising from its covert fascist desire for the unified self. The significance of The White Ribbon in the ongoing debate on history/memory thus lies in its critique of Europe’s current self-understanding as having outgrown its violent past.     

Four Millennia of Cultural History in Nigeria (<Emphasis Type="Italic">ca</Emphasis>. 2000 B.C.–A.D. 1900): Archaeological Perspectives

This essay is an analysis of archaeological contributions to the understanding of Nigeria's cultural history between ca. 2000 B.C. and A.D. 1900 focusing on the following themes: the origins of food production; development and transformations in metallurgical traditions; the beginnings of social complexity; and the character of state formation and urbanism. The transformations in everyday material life as a result of the entanglement with the Atlantic commerce and ethnoarchaeological approaches to understanding material culture and archaeological contexts also receive attention. The essay provides pathways to some of the turning points in Nigeria's cultural history, shows the convergence and divergence of cultural historical developments in different parts of the country, and identifies the critical gaps in archaeological research agenda.     

Crossing the Line: Limits and Desire in Historical Interpretation

This essay focuses on the relationship within western humanism between attitudes toward textual interpretation and views of the human self in an attempt to unsettle the dichotomy between humanist and antihumanist approaches to the past. It has three main parts. First, it uses Umberto Eco's recent reflections on the limits of interpretation to explore current debates about the aims of interpretation. In particular, it asks what it means to frame the problem of interpretation specifically as a problem of establishing limits. Given the many possible vocabularies to compare and evaluate competing hermeneutic approaches, what are the implications of adopting one that speaks in terms of limits, of an “in bounds” and an “out of bounds?” Second, the essay draws on the work of Donna Haraway and Stephanie Jed to argue that a discourse about interpretation that seeks to establish the limits of interpretation excludes as out of bounds precisely those methodological strategies that most effectively analyze the mutually sustaining relationship between assumptions about texts and assumptions about selves. Third, the essay explores the relationship between interpretation and subjectivity at one key historical moment to show how to move beyond the strict dichotomy between humanist and antihumanist assumptions.     

The Wiley-Blackwell companion to cultural geography

The Western film genre fosters the mythic view of America as a feminized Eden where one can regenerate or recreate oneself. Westerns typically depict the American countryside as though it were simply a gorgeous framing device for the film's male protagonist whose primary function is to introduce the rough wilderness to the pioneers (or cinematic viewers) who will follow him. In contrast, in the rural femalecentered films of American life— such as Daughters of the Dust, Places in the Heart, Bagdad Cafe, and The Spitfire Grill—the landscape plays a central role. Nature, in fact, generally replaces the powerful male protagonist of the Western. Unlike European movies that also highlight nature's regenerative power, the American films discussed here center on the transformation of the woman. They highlight the Jeffersonian ideal of America as a garden community—one where the female protagonist is regenerated by her ties to the land and by her relationship with those labeled “Other.” She does not conquer or traipse through the cowboy's wild Eden. Rather, she inhabits a nurturing cinematic place that celebrates community and embraces difference.     

A sequence of inland desert settlement in the Oman peninsula: 2008–2009 excavations at Saruq al‐Hadid,Dubai, UAE

The 2008–2009 excavations conducted by the Dubai Desert Survey at Saruq al‐Hadid, Dubai, have transformed our interpretation of the site from an Iron Age bronze production centre to a site with multiple occupations over the course of more than three millennia; they underline the importance of this site for understanding land use and settlement patterns in the deserts of the Oman peninsula. Saruq al‐Hadid probably began as an oasis site where nomadic pastoralists during the Umm an‐Nar and Wadi Suq periods camped and took advantage of a relatively well‐watered landscape. In contrast, Iron Age remains at the site do not bear any definite signs of settlement per se; instead, the material culture suggests that Saruq al‐Hadid may have been one of several sites in south‐east Arabia that were dedicated to a snake cult. The site is capped by waste from an intensive metalworking operation that appears to have taken place during the later first millennium BC. Iron age and later remains from the site tie Saruq al‐Hadid to a regional network of settlement and trade centres and suggest that, like the mountain piedmont and coasts, the sandy desert expanses of the Oman peninsula held economic and ritual importance in the overall landscape.     

Recontextualising Positionality: Geographical Research and Academic Fields of Power

The first article of the first issue of Antipode began with a declaration concerning the values ascribed to publication and the nature of academic work in geography. With that thirty-year-old declaration in mind, this essay reflects on aspects of these values as registered in British academic geography. It does so with particular reference to themes that have been raised in a number of recent debates, namely the questions of commodification/marketisation of and reflexivity in geographical research and scholarship.     

Apprehending the Archangel Michael: hagiographic methods

Abstract

This essay examines the means by which hagiographies attempt to describe the presence and appearances of the Archangel Michael. It deals with several hagiographies at some length in order to demonstrate the ways in which each text persuades its audience of the Archangel's benign proximity. It examines, in particular, the hagiographies of the miracle at Chonae since the ‘pre-history’ of this cult is relatively clear and the shrine's activities during the Byzantine period were widely acclaimed. This essay also discusses other hagiographies, namely of the sanctuary at Monte Gargano and of the shrine described by Michael Psellus (1018–1081 ?). In examining these texts, certain structural similarities become apparent: access to the Archangel is made difficult by his unique angelic nature and this difficulty led to textual strategies that make Michael more firmly entrenched in the texts' levels of narrative. The hagiographies reveal Michael's elusive, elemental force active in a landscape, and work to bind the Archangel-notionally at least-to places in order to strengthen expectation of devotional return.     

The formation of a civil religion in republican Italy (1943–49)

Absract

The essay investigates the formation of a new political rituality in Italy after the collapse of the fascist regime. The first paragraph deals with the protagonists: especially religious and institutional ones. The second one discusses different liturgies: the institutional one, that followed the example of the pre-fascist period; the religious one, so important that made it possible some sort of interference between civil and religious rituals; the political one, characterized by different rhetoric attitudes. Finally, the essay focuses on the similarities which emerge among all liturgical experiences: the need to find a line of continuity with the past through a coherent interpretation of national history; the pedagogical aim given to the ceremonies; the tendency to excise World War II from the country s history; the tendency to turn to the primary sources of collective identity: death and mourning, and family ties.