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Defining And Managing The Historic Urban Landscape: Reflections On The English Experience And Some Stories From Liverpool

100%

Sykes O., Ludwig C., Sykes O. O. S., Ludwig C. C. L., Sykes O. o. s. l. a. u., Ludwig C. c. l. a. u.

European Spatial Research and Policy

2015

vol. 22

issue 2

The period since the 1960s has been characterised by growing societal concern with urban heritage protection and the development of legislative, fiscal and urban planning instruments that seek to ensure the protection and enhancement of historic buildings and environments. International organisations such as UNESCO and European level documents such as the European Spatial Development Perspective (ESDP) have stressed the cultural and economic value of the ‘wise management of natural and cultural heritage’. Since the 1970s many cities have sought to redefine and regenerate themselves through a revalorisation of their past and the protection and enhancement of their historic urban landscapes. Urban heritage has thus often come to be seen as a component of the territorial capital of places, and often had a symbiotic relationship with the objective of urban regeneration. However, urban heritage is not a static concept and ideas about what constitutes heritage, the value of different historic urban environments, and the contribution they can make to city development and regeneration continue to evolve. This paper reflects on this evolution in the context of the English planning system and illustrates some key trends and issues surrounding urban heritage through a consideration of recent and ongoing heritage related planning episodes in the northern English city of Liverpool.

Lisandro Alonso – luki filmowego realizmu

58%

Syska R.

Kwartalnik Filmowy

2011

issue 75-76

177-190

The author of this essay focuses on the films directed by Argentinean filmmaker Lisandro Alonso (La Libertad, Los Muertos, Fantasma and Liverpool). The article examines the specific film style, focusing on various forms of the cinematic realism. Firstly, the essay proposes the list of the Alonso’s potential protoplasts, confronts the Argentinean filmmaker with the film poetics conceived by Robert Bresson, Béla Tarr and Chantal Akerman. The author claims that the Alonso’s conception updates Bressonian idea of “cinematography”, although Argentinean director rejects the process of semiotic synthesis, instead proposing the uniqueness of the characters, the purest realism – ancillary to the landscape and the actor. Besides, Syska describes the distancing techniques used by Alonso, ellipsis in the film plot, the avoidance of the punchlines and the specific nature of the subjectivity located inside the classical objective narration (e.g. the analysis of a sleep scene from the movie La Libertad). The author also analyzes the temporal relations in Alonso’s films – using the term called “present tense progressive”.

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Defining And Managing The Historic Urban Landscape: Reflections On The English Experience And Some Stories From Liverpool

Lisandro Alonso – luki filmowego realizmu