ABSTRACT
The paradigmatic tropes that filmmakers developed in the Weimar Republic continued in film noir, the cycle which emerged during the 1940s in Hollywood. In the late 1950s, lightweight cameras gave filmmakers increased access to on-location shooting. Cinematic cities in science fiction developed from signifying an imaginary future to representing outdated and dilapidated environments. The spatialization of ethnicity and race in cities and in films reflects the relationship between social groups and economic stratification of neighborhoods. The shift from the big screen, associated with the James Bond franchise, to the small screen of television and other production and distribution platforms constitutes a trend. The recurrent use of drones has transformed iconographic city shots. The cinematic representation of the city has transformed from static iconography to a fluid and immersive sensation of aerial mobility, which provides a sense of immersive knowledge of the three-dimensionality of urban spaces.
