Beyond the Right to the City: Territorial Autogestion and the Take over the City Movement in 1970s Italy

The cry and demand for the Right to the City (RttC) risks becoming a cliché, merely signifying urban rebellion rather than proving its practical content on the ground. I explore the limits of the thesis via its fraught entanglement with private property rights and the state‐form; and through Lefebvre's radical critique of the state, political economy and rights elsewhere. Rights claims, I contend, unintentionally reify the uneven power relations they aim to overcome, while routinely cauterising the hard‐fought collective social force that forces social gains. As a counter to the RttC thesis, I explore the autonomous Take over the City (TotC) movements of 1970s Italy, arguing that these largely neglected eminently immanent forms of territorial community activism, brought here into dialogue with Lefebvre's conception of territorial autogestion, surpassed the RttC thesis in praxis. The experience of “Laboratory Italy” thus provides highly suggestive lessons for a contemporary politics of urban space.     

Toxic Encounters,Settler Logics of Elimination,and the Future of a Continent

This paper engages the relationship between toxic geographies and settler colonialism. By bringing to light larger structures and histories that underpin the settler colonial project, I examine a series of toxic encounters and consider the racialised hegemonic narratives that enable the production toxicity. Among these is a methylmercury contamination in Northern Ontario, just upstream from Grassy Narrows First Nation, and a cluster of toxic conversations that bled through social media in the wake of the murder of Colten Boushie, a 22‐year‐old Cree man in Saskatchewan, Canada. I argue that examining the normative ideologies, settler narratives, and socio‐political structures that are involved in the production of toxicity provides valuable insight into the diffuse and relational colonial logics that define the lives that are privileged as the standard, and those that fall outside the regulatory category of the Human, and as a result, are subject to elimination.     

Virtual Poaching and Altered Space: Reading Parkour in French Visual Culture

Parkour has emerged in the last decade as a significant cultural practice, both in France, where it originated, and internationally. The cultural resonance of parkour—a form of street gymnastics combining acrobatic agility with a creative approach to urban space—is emphasised through its presence on numerous internet sites, as well as representations in advertising media, the bande dessinée, and films. While the prevalence of parkour as a practice is widely known, these numerous manifestations within culture have not been widely theorised. This article focuses primarily on parkour's representations in visual culture, especially in cinema, and considers the associations made in two films between parkour and the banlieue. Analysing both the legitimacy and potential problems in making the banlieue a stage for parkour performance and big-screen entertainment enables us to reconsider the notion of the film banlieue, as well as the political possibilities of a ‘parkour film’. Lastly, reflecting on the circumstances of contemporary cinema and the role of the internet, the article considers philosophical aspects of the ‘parkour film’, as well as seeking parallels between parkour's spatial practices and the practices of cinematic and online production and distribution.

La dernière décennie a vu apparaître le parkour en tant que pratique culturelle significative, en France, où il a son origine, mais aussi au niveau international. L'impact culturel du parkour – une gymnastique de rue qui unit l'agilité acrobatique à une attitude créative envers l'espace urbain – est souligné par sa présence sur nombre de sites Web, dans la publicité, la bande dessinée, et dans certains films. Alors que la popularité du parkour comme pratique est reconnue, ces représentations culturelles ont suscité moins d'intérêt théorique. Cet article porte sur les représentations du parkour dans la culture visuelle – principalement dans le cinéma – et examine les rapports établis dans deux films entre le parkour et la banlieue. En se demandant s'il est ou légitime ou problématique de se servir de la banlieue comme scène pour la célébration du parkour ou pour les super-productions cinématiques, on peut réexaminer le concept du ‘film banlieue’, et considérer les possibilités politiques d'un ‘film parkour’. Finalement, en réfléchissant sur la situation contemporaine du cinéma et le rôle de l'Internet, l'article considère les aspects philosophiques du film parkour; en même temps, il cherche à établir des correspondances entre les pratiques spatiales du parkour et les pratiques de production et dissémination cinématiques et numériques.     

The Interplay between History/Memory/Space in Tassadit Imache's: Presque un Frère and Le Dromadaire de Bonaparte

During the last two years media attention has centred on the issue of torture during the Algerian war. An exploration of this debate shows that the deep passions and tensions which have, in the past, bitterly divided the participants in the war and prevented an objective historical investigation or dialogue, are now receding. In France, in spite of a long history of state secrecy surrounding 'sensitive' archives, there has been a quiet but significant liberalisation of access and a new body of research based on this huge and growing body of evidence is dramatically changing our understanding of the war. Although many historians hope to see a growing Franco-Algerian collaboration, the torture debate reveals at the same time how far the current political crisis in Algeria and the authoritarian military regime continue to impede access to archives and a more open research agenda.     

The Rat-Catcher's Prank: Interspecies Cunningness and Scavenging in Henry Mayhew's London

Drawing upon Mayhew's interviews with rat-catchers, sewer workers and the dog-men of the rat pit, the article explores the varied relationships these aforementioned groups had with rats across three distinct spaces: the country, sewers and rat-pits. In addition to developing a framework for historicizing the practices of rat-catching, the article illuminates Mayhew's highly ambiguous relationship with two key rationalizing projects: the emerging discourses of sanitary progress and ‘animal welfare’, which had consequences for how he conceptualized the diverse cultures of London's working poor.