Search

Mediterranean port cities share a number of trajectories that reveal their constitutive interconnectedness. Among the more recent is the process of urban regeneration that many of these cities have undergone over the last two decades. Several studies have analysed the implications of urban renewal from a socio-economic and urban planning perspective. However, the intersection between diverse urban restructuring processes and the emotions that crisscross these cities is still largely underexplored. This article aims to begin filling this gap by identifying possible emotional responses that mirror local concerns in three port cities located on the northern shores of the Mediterranean. More specifically, the article investigates Barcelona in light of the hope that emerges when a city is in crisis, Marseille and the nostalgia that is mobilised to reimagine the city's national consciousness and Genova with regard to an uncanny feeling when more-than-human balances are altered. Drawing from different disciplines, including ethnography, media, archival and literary analysis, this article argues that emotional trajectories are significant aspects to consider in the urban renewal processes of distinctive spaces like port cities because they allow us to comprehend some of the local reactions to urban transformations and gentrification that go beyond understanding economic and branding strategies in a post-industrial space. [ABSTRACT FROM AUTHOR]

Written as a small tribute to David Frisby’s inspiring, pioneering work on Critical Theory and the modern cityscape, this essay explores a number of feuilletons and other textual fragments in which the cultural theorist Siegfried Kracauer expresses his enduring fascination with the French port of Marseilles. It is suggested that this city has a two-fold significance for him: firstly, in the vibrancy of its street-life, Marseilles is an exemplary, indeed inspirational, instance of the cinematic qualities of modern urban environments. It is to Marseilles that Kracauer’s 1960 Theory of Film is indebted not only for its first formulation but also for its central motif of the quotidian ‘flow of life’ to which the film camera must attend. Secondly, this seedy city constitutes the preeminent site of ‘promiscuous modernity’, understood here in two senses: not only as an environment of explicit sexuality and sexual activity/exchange, but also one that is ‘for mixing’ – that is to say, open and inviting to the most eclectic and outré elements. This notion of promiscuity as the continuous co-presence and curious contiguity of heterogeneous populations and incongruous objects also has its filmic aspect – as Kracauer observes elsewhere, such surreal juxtapositions are also to be found off-set in the costumes and props of the film studio. In its fusion of everyday urban energies and extraordinary eccentricities, the cinematic city of Marseilles takes on a dreamlike quality. [ABSTRACT FROM PUBLISHER]