Chris Berry
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789622099845
- eISBN:
- 9789882206731
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099845.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter examines the imaging and the imagination of the Globalized City. It focuses on three texts to compare two different visions of one urban or conurban space that has emerged post ...
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This chapter examines the imaging and the imagination of the Globalized City. It focuses on three texts to compare two different visions of one urban or conurban space that has emerged post globalization—the Pearl River Delta. Rem Koolhas has discussed the Globalized City in his essay called “The Generic City”, where he celebrates the postmodern tendencies of globalization towards homogenization, the erasure of history, and the loss of identity bemoaned by so many others. Another text examined is U-théque's documentary San Yuan Li, which emphasizes history and local specificity. The third text, Harvard Design School Project on the City: Great Leap Forward was edited by Koolhaas and this tracks the recent transformation and urbanization of the Pearl River Delta. The chapter concludes by suggesting that although the difference between Koolhaas's and U-théque's visions of the Globalized City is real, both of them are within the order of globalization.Less
This chapter examines the imaging and the imagination of the Globalized City. It focuses on three texts to compare two different visions of one urban or conurban space that has emerged post globalization—the Pearl River Delta. Rem Koolhas has discussed the Globalized City in his essay called “The Generic City”, where he celebrates the postmodern tendencies of globalization towards homogenization, the erasure of history, and the loss of identity bemoaned by so many others. Another text examined is U-théque's documentary San Yuan Li, which emphasizes history and local specificity. The third text, Harvard Design School Project on the City: Great Leap Forward was edited by Koolhaas and this tracks the recent transformation and urbanization of the Pearl River Delta. The chapter concludes by suggesting that although the difference between Koolhaas's and U-théque's visions of the Globalized City is real, both of them are within the order of globalization.
Samuel K. Byrd
- Published in print:
- 2015
- Published Online:
- March 2016
- ISBN:
- 9781479859405
- eISBN:
- 9781479876426
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479859405.003.0006
- Subject:
- Anthropology, American and Canadian Cultural Anthropology
This chapter examines how Latino immigrant musicians and audience members, through their music making, debate political questions relevant to their everyday lives as working musicians and residents ...
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This chapter examines how Latino immigrant musicians and audience members, through their music making, debate political questions relevant to their everyday lives as working musicians and residents of a globalizing city. Musicians and their audiences negotiate their political stances through a physical and intellectual process called the circular colectivo (collective circle). The collective circle describes the circle of dancers that often form at Eastside rock concerts in Charlotte, in which dancers slam into each other in dances where jumping and shoving serve to unite band and audience in a collective music-making strategy. But the term has an additional meaning—the collective circulation of ideas through music as bands, audience members, and journalists engage in debates about the political and social importance of what they are performing, how they perform it, and its meaning in the context of a politicized immigrant presence in the U.S. South.Less
This chapter examines how Latino immigrant musicians and audience members, through their music making, debate political questions relevant to their everyday lives as working musicians and residents of a globalizing city. Musicians and their audiences negotiate their political stances through a physical and intellectual process called the circular colectivo (collective circle). The collective circle describes the circle of dancers that often form at Eastside rock concerts in Charlotte, in which dancers slam into each other in dances where jumping and shoving serve to unite band and audience in a collective music-making strategy. But the term has an additional meaning—the collective circulation of ideas through music as bands, audience members, and journalists engage in debates about the political and social importance of what they are performing, how they perform it, and its meaning in the context of a politicized immigrant presence in the U.S. South.
