Suburban pastoral: Strawberry Fields forever and Sixties memory

Daniels, Stephen

doi:10.1191/1474474005eu349oa

Cited by 49 publications

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“…5 5 Daniels (2006, 32–5) on English Pop art, Ley (2003) on assemblage art and Deutsche and Ryan (1984) on neoexpressionism also recognise the significance of particular artistic practices and forms in gentrification processes. …”

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confidence: 99%

Art and gentrification: pursuing the urban pastoral in Hoxton, London

Harris¹

2011

Trans Inst British Geog

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The role of artists as precursors and agents of gentrification processes has been widely acknowledged and studied. Yet there has been limited consideration of the particular aesthetic practices and attitudes deployed by these artists, and the related urban landscapes they have helped shape and re-imagine. This paper uses the notion drawn from art history of the 'urban pastoral' to highlight largely disregarded socio-cultural and political relations of power accompanying gentrification. It focuses on a district of inner London called Hoxton where a deindustrialised location and a legacy of forms and practices of British working-class popular culture offered artists a rich resource and socio-spatial environment to work and operate during the 1990s. By indulging in fantasies and performances of the urban pastoral, these artists fashioned a new cultural landscape that not only catered to many of the lifestyle tastes and investment priorities within postindustrial London, but manipulated and downplayed the complex and potentially conflictual histories of the area. The paper argues that this capture of urban space through the pastoral is indicative of new forms of gentrification where classbased and race-related neighbourhood change occurs without direct displacement.

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confidence: 99%

Art and gentrification: pursuing the urban pastoral in Hoxton, London

Harris¹

2011

Trans Inst British Geog

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“…Finally they present more complex and complicated views of the 'character' of Liverpool. Musicians' recollections of these pubs are not like those dreamily filled and fuelled by the 'blue suburban skies' of Penny Lane or cramped sweaty nights in the fug of the Cavern which circulate more widely in popular memory (Daniels 2006). These pubs are remembered more paradoxically, perhaps because most of the musicians in the era did not achieve much mainstream success, but also because the 'brutalist' architectural design of St. Johns Precinct was disdained generally.…”

Section: Mapping Popular Musicmentioning

confidence: 97%

Popular music, mapping, and the characterization of Liverpool

Lashua¹,

Cohen²,

Schofield³

2010

POMH

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is an archaeologist specializing in contemporary archaeology, the archaeology of recent conflict and landscape. After 21 years with English Heritage, he recently took up the post of Abstract Liverpool is widely recognized for its iconic 'Three Graces'-a trio of grand buildings that stand along the city's River Mersey waterfront. In this article we argue that there are a similar kind of iconic 'three graces' in Liverpool's popular music and heritage landscapes: the Cavern Club, Eric's Club, and Cream. These three venues have taken on broader symbolic meanings as representative of entire musical styles and eras. As such they dominate the histories of the city's music-making cultures, producing (and reproduced through) a variety of representations, texts and mappings of the city's musical past. This paper draws from ethnographic materials gathered through a two-year research project to decentre this 'master page' or 'master map' of the three Popular music, mapping, and the characterization of Liverpool 127 © Equinox Publishing Ltd 2010.graces with a series of mappings of Liverpool's popular music heritage that calls attention to hidden or alternative histories of the city that are less often mapped.

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“…We are undertaking a kind of visual criticism, but not one 'disciplined' by any nameable theory or methodology, treating the films as a site of research in which we are situated and implicated after watching. As in much other phenomenological landscape geography (Dubow 2001(Dubow , 2011Wylie 2002Wylie , 2005Wylie , 2007Lorimer 2003Lorimer , 2006Lorimer , 2012Edensor 2005Edensor , 2008Daniels 2006Daniels , 2012Pearson 2006;DeSilvey 2007DeSilvey , 2010DeSilvey , 2012Matless 2008Matless , 2010Matless , 2014Lorimer & Wylie 2010;Rose 2012;Riding 2015aRiding , 2015bRiding , 2016bRiding , 2017b, the films analysed here, are treated not as a spatial gaze or a representational schema, overarching and constructing the traumatised landscape, rather they are considered as presentations that are 'in and of the world' (Dewsbury et al 2002). For the films Stuart Laycock made, demand us to simultaneously tighten our point of view and widen our point of view (Didi-Huberman 2008, 41).…”

Section: Spring 1994 Mostar [Raw Documentary Footage Stuart Laycock]mentioning

confidence: 99%

Towards a cultural geopolitics: on the making of a documentary-poetry film about a post-conflict place

Riding

Wake-Walker

2017

Fennia

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Riding, James & Jack Wake-Walker (2017). Towards a cultural geopolitics: on the making of a documentary-poetry film about a post-conflict place. Fennia 195: 1, pp. 61-84. ISSN 1798-5617. Made in collaboration with an independent filmmaker and two poets, the documentary-poetry film Bridges presents life in post-conflict Bosnia-Herzegovina, and delivers a clear message: the war in Bosnia is not yet firmly located in the past. Shot through a computer screen, Bridges forces the viewer to witness the war in Bosnia and its aftermath via-the-gaze of an unknown spectator, sitting on an Apple Mac laptop. Through this modern technological distancing, we re-present here images of war in a digital age, question how war is usually packaged and represented on television, and in turn interrogate, through poetry, how war is traditionally remembered and memorialised. In so doing, Bridges leads us to a conclusion, in Srebrenica, in 2015: in order to invest in the possibility of a just future after conflict, it is necessary to acknowledge the unthinkable realities to which traumatic experience bears witness. Copenhagen, Denmark, E-mail: jack@wake-walker.com I spent my childhood and youth on the outskirts of the Alps, in a region that was largely spared the immediate effects of the so-called hostilities. At the end of the war I was just one year old, so I can hardly have any impressions of that period of destruction based on personal experience. Yet to this day, when I see photographs or documentary films dating from the war I feel as if I were its child, so to speak, as if those horrors I did not experience cast a shadow over me… I see pictures merging before my mind's eye -paths through the fields, river meadows, and mountain pastures mingling with images of destruction -and oddly enough, it is the latter, not the now entirely unreal idylls of my early childhood, that make me feel rather as if I were coming home… -W.G. Sebald (1999, 71) Only those who do not care, only those who find a way to diminish or extinguish the value of other human beings, survive wars without damage and speak of warrior honour afterward. -Aleksandar Hemon (2013, 114) In order to know, we must imagine for ourselves. -Georges Didi-Huberman (2008, 3)

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Suburban pastoral: Strawberry Fields forever and Sixties memory

Cited by 49 publications

References 0 publications

Art and gentrification: pursuing the urban pastoral in Hoxton, London

Art and gentrification: pursuing the urban pastoral in Hoxton, London

Popular music, mapping, and the characterization of Liverpool

Towards a cultural geopolitics: on the making of a documentary-poetry film about a post-conflict place

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