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Description
This research explores the cinematic imagination of contemporary urban landscapes to contribute to the current transition debate. In our mediatized society, film, among other media, influences the dynamics and implementation of spatial transitions, particularly in the realm of the envisaged building shift in Flanders. This building shift includes the densification of urban centers in order to preserve the remaining open space. To counter the traditional technological approach, a cinematic lens is used to uncover how these visual narratives both reflect and contribute to contemporary discourses on the lived experience in Flemish cities. As the urban environment increasingly becomes a site of contestation between planning discourses and everyday practices, the significance of these cinematic imaginaries in bridging the gap between spatial theory and everyday lived space becomes apparent.
A case study approach, focusing on fiction films set in city centers, particularly the works of the Belgian directing duo Adil El Arbi and Bilall Fallah, provides a comprehensive understanding of the everyday lifeworld that conventional instruments (e.g., GIS, statistics) often fail to capture. The films Image (2014), Black (2015), and Gangsta (2018) prominently feature Flemish cityscapes, particularly the modernist (social) housing blocks of cities such as Antwerp and Brussels. These environments are frequently subjected to negative framing in public discourse, yet their portrayal in cinema provides an alternative means of engagement. Through a detailed spatial analysis using video annotation software, this study examines the morphological and sociological aspects of these cinematic representations.
The study is centered around three stages: scrutinizing what is represented and how audiovisual (camera) techniques express a spatial-morphological reading of spaces (representation stage), how the narrative relations express a social construction (reflection stage), and probing the potential mediation role of cinema (reception stage).
Findings indicate that the films of El Arbi and Fallah construct a layered and multifaceted urban narrative, in which teenagers claim their space. This is reflected in the portrayal of public spaces as the primary arenas where life unfolds for these young adults. These films offer a unique perspective on the "sense of place" within cities, portraying neighborhoods and districts in terms of their character, identity, and role in shaping community interactions. Furthermore, this research indicates a predictive value of these movies by capturing what is at stake in these areas.
In conclusion, this paper argues that the transformative power of cinema can serve as an essential complement to urban studies, offering new perspectives on the cultural and social complexities of Flemish cityscapes. The attention to the interrelationship between people and place, along with the emotions embedded in film, positions cinema as an interdisciplinary tool for planning. Recognizing film as a medium that bridges lived experiences and spatial theories enriches the discourse on urban development and contributes to a more holistic and nuanced planning culture.
| Keywords | cinematic urbanism; narratives; public space; urban culture |
|---|---|
| Best Congress Paper Award | No |
