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Marquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesMain MenuIntroductionMarquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesIntroduction, StartMarquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesHistories ConcealedHistories Concealed landing pageProjecting 1943Sense of PachucaBroadway as BackgroundSplash page for Broadway as Background / Background as BroadwayPhoto Essay: Marquee StoriesIntro to photo essay: Marquee StoriesPrototypesExploring project prototypesPortfolioEjected Spectators and Inactive Users: Locating Multimodal Historiography In Repurposed Media SpacesVeronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
Cinema of Walking
12015-05-30T17:44:17-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc34296Annotation for clip from Los Angeles Plays Itselfplain2015-05-30T17:57:36-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcThis clip from Thom Andersen's Los Angeles Plays Itself explores Los Angeles's "cinema of walking." Andersen traces a neorealist genre of Los Angeles in Kent Mackenzie's The Exiles (1961) and UCLA filmmakers in the 1970s, here specifically pointing to Haile Gerima's Bush Mama (1976). The clip shows a shift from one genre of Los Angeles films to another, from driving to walking. In this transition, Broadway in Downtown Los Angeles is featured prominently in clips from The Exiles and Gregory Nava's El Norte (1983).
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12015-05-30T09:58:07-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcCinema of Walking clip1Thom Andersen's 2003 video essay about the representation of Los Angeles through film.plain2015-05-30T09:58:07-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc