Yearly Archives: 2011

36 posts

Just How Much Can a City Change?

Film Urban Planning Urban Planning and Film

I wrote a couple of months back about the power of movies to preserve a record of cities as they used to be. In that post I included various pieces of footage of Melbourne, and one interesting thing was how recognisable the streets remained. There was no mistaking many locations – such as Princes Bridge, Elizabeth Street, and St Kilda Road – in footage as much as a century old. Despite everything that has gone on in the last century, Melbourne in the 1910s remains fundamentally recognisable. But how much can a city change?

That question was prompted by a video guaranteed to push both my film and planning nerd buttons: 1940s footage of Los Angeles recorded to be back-projection footage for a driving scene in an (unknown) movie project. This came to my attention via The Atlantic and UrbanPhoto blog’s twitter feed, and was originally posted in truly astounding quality by The Internet Archive (here). Below is a YouTube embed, but you can get even better quality on their page.

This footage is of Downtown L.A. and the nearby Bunker Hill district, and it gives some sense of just how profoundly Los Angeles has been transformed. In my previous post I alluded to the remarkable books by John Bengtson that reconstruct silent-film-era Los Angeles from the films of Buster Keaton, Charlie Chaplin, and Harold Lloyd; one thing you get from his work is an idea of just how different a kind of city Los Angeles was in the first part of the twentieth century. This footage reinforces that.

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Fifty Years of Ugliness

Urban Planning

The Australian Ugliness (Robin Boyd, Text, 1960/2010)

Como Street

In 1960 Robin Boyd’s The Australian Ugliness became the classic treatise on the malaise of this country’s architecture and planning, offering a withering critique of all that Boyd found wanting in the Australian built form of the late 1950s. The book has now been re-issued in a handsome fiftieth-anniversary edition, with Boyd’s text bracketed between an introduction by Christos Tsiolkas and an afterword by John Denton, Phillip Goad and Geoffrey London, and its reappearance provides an interesting prompt for reflection. In the subsequent half century our cities have expanded astronomically, and no doubt there is plenty of ugliness out there in the built environment. But what kind of ugliness? Have we moved on from those trends that so bothered Boyd? And if so, have we just found newer, more effective ways to blight our landscape?

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How to Not Read Everything I Write

Film Miscellany Urban Planning

I occasionally feel self-conscious about the weird mix of content on this site, with film reviews sitting alongside detailed discussions of urban planning issues. While I think some of my planning stuff (like my essays about the town of Seaside, or the urban design and planning of Disneyland) might be of interest to a broader readership, some of my posts are pretty technical and I appreciate must be annoying to the readers that followed me over here from my old film-related site, Cinephobia.

For this reason, I’ve now made it slightly easier to skip to just the content you’re after by creating subdomains you can bookmark for each of the two main threads of content. The two new addresses, which should be self-explanatory, are:

www.sterow.com/film

www.sterow.com/urbanplanning

You can also get an RSS feed that just delivers the film or planning articles. Here’s the film feed, and here’s the planning feed.

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The Victorian Car Parking Review: Why it Matters and What Should Happen Now

Urban Planning

God's Abacus

There was movement on one of the most long-awaited planning reviews going around last week, with the announcement that a new Advisory Committee will examine draft car parking controls and prepare a further report.

The car parking controls have become the bad joke of Victorian planning. The current review recently passed its seven year anniversary, having been initiated in May of 2004. The original terms of reference for that review made it clear it was building on earlier work conducted by Hansen Partnership in 1999, and then-Planning Minister Robert Maclellan was telling Planning News that a review was imminent back in the mid 1990s. The draft Advisory Committee report was released in 2007, but a long silence followed: we were already making fun of the former government’s inaction on the topic in Planning News back in May of 2008. The change of government had only deepened the suspicion that we might never see action on this front.

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An Urban Planner’s Guide to the Melbourne International Film Festival

Film Urban Planning Urban Planning and Film

I had planned to do a fairly detailed post about the upcoming Melbourne International Film Festival, but I have been distracted by the release of the truly stupefying Small Lot Housing Code.  However, it would be wrong of me, given the dual focus of this page, not to at least note the amount of urban planning content on at MIFF this year.

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The Small Lot Housing Code: Is it Ready to Use?

Urban Planning

artifact
The Growth Area Authority have released their Small Lot Housing Code, following the Planning Minister’s announcement of it last week. It’s a strange beast, worthy of some comment both for its importance (this is potentially a major shake-up of how housing is to be delivered in Victoria) and for the nature and content of the document itself.

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And to Think That I Saw it on Colonial Street

Film Television Urban Planning Urban Planning and Film

Colonial Street B

A while back I posted about Courthouse Square, the classic town square used in countless film and television productions. As I argued then, I think these backlot places are interesting because they at once reflect and shape our ideas about community. When Hollywood production designers build a backlot set, they will aim for something that is at once familiar yet generic (since it will be used in many productions), while simultaneously desirable (since Hollywood films tend to show a world that is a little bit more exciting and interesting than our own). That’s the part where they reflect our desires.

Yet once built, those sets reappear in many productions. Over time, with repetition, those generic backlot communities can come to actually shape our image of community. I don’t want to over-sell this idea: obviously we don’t simply passively absorb a picture of the world from movies and then start to believe this is the way the world is, or should be. But I do believe that pop-culture iconography is party of the language we draw on to make sense of the world, and that Hollywood’s images of the quaint small towns, leafy suburbs, or the polluted big city become powerful visual signifiers that influence the way we picture different types of community.

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Old School Spielberg

Film Film Reviews

Super 8 (J.J. Abrams, 2011)

With Super 8, J.J. Abrams pays tribute to a body of work that some feel Hollywood has been methodically aping for thirty years: Steven Spielberg’s work of the late 1970s and early 1980s. Yet even if you accept the Peter Biskind “Hollywood drank Spielberg’s Kool Aid and was forever changed” school of thought – about which I said a bit more here – you’d have to acknowledge that it was a particular aspect of Spielberg’s filmmaking that Hollywood latched on to. The lesson everybody seemed to learn from Jaws, Close Encounters, and E.T. (plus George Lucas’ Star Wars) was that people were after escapist, wonder-inducing science fiction and fantasy. What almost all of the imitators didn’t understand, or couldn’t replicate, was Spielberg’s knack for depicting the real world setting and the domestic backdrop against which the adventure took place. That, of course, was what made the transition to the extraordinary and other-worldly in Spielberg’s work so effective. What makes Super 8 really interesting, albeit not completely successful, is the care Abrams devotes to replicating that more mundane side of the Spielberg formula.

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