Johan Andersson is Senior Lecturer in Urban Geography at King's College London, UK. He is the co-editor, with Lawrence Webb, of Global Cinematic Cities: New Landscapes of Film and Media (2016), the co-author, with Gallent and Marco Bianconi, of Planning on the Edge (2006) and has published articles in journals such as Antipode, IJURR, Society and Space and Urban Studies. Lawrence Webb is Senior Lecturer in Film Studies at the University of Sussex, UK. He is author of The Cinema of Urban Crisis: Seventies Film and the Reinvention of the City (2014). He is co-editor, with Johan Andersson, of Global Cinematic Cities: New Landscapes of Film and Media (2016), and with Joshua Gleich, Hollywood On Location: An Industry History (2018).

• American Cinema and Urban Change: Industry, Genre, and Politics from Nixon to Trump, Johan Andersson, King’s College London, UK and Lawrence Webb, University of Sussex, UKPart One: Film Production and the Postindustrial TurnDaniel Bell, Post-industrial Society and Los Angeles Cinema c.a 1967–72, Mark Shiel, King’s College London, UKMade in New York: Film Production, the City Government, and Public Protest in the Koch Era, Lawrence Webb, University of Sussex, UK You Don’t Have to Call Us Home, but Please Stay Here: The City Film Commission, Nathan Koob, Oakland University, USAThe Boston Movie Boom, Carlo Rotella, Boston College, USAPart Two Postindustrial Narratives and Aesthetics The New Boston and the Grip of Tradition: The Friends of Eddie Coyle (1973), The Brink’s Job (1978), and The Verdict (1982), Stanley Corkin, University of Cincinnati, USAUndead Detroit: Crisis Capitalism and Urban Ruin, Camilla Fojas, University of Virginia, USAThe Flexible Urban Imaginary: Postindustrial Cities in Inception, The Adjustment Bureau, and Doctor Strange, Nick Jones, University of York, UKA Networked Life: Representations of Connectivity and Structural Inequalities in Fruitvale Station, Amy Corbin, Muhlenberg College, USAPart Three Cinema and Gentrification 9 For Whom Are the Movies?: The Landscape of Movie Exhibition in the Gentrified City, Brendan Kredell, Oakland University, USAEbbets Field and Other Monuments: Outer Borough Neighborhoods and Revanchism in 1990s Cinema, Erica Stein, Vassar College, USAGentrification by Genre: Desperately Seeking Susan and the 1980s Screwball, Johan Andersson, King’s College London, UKFrances Doesn’t Live Here Anymore: Gender, Crisis, and the Creative City in Frances Ha and The Giant Mechanical Man, Martha Shearer, King’s College London, UKIndex

The authors accomplish an immense feat when giving form to the feeling of incongruence that grips one as they walk through the locations these essays discuss … [this book] gives one the language to understand one’s place in the socio-spatial world.

Johan Andersson is Senior Lecturer in Urban Geography at King's College London, UK. He is the co-editor, with Lawrence Webb, of Global Cinematic Cities: New Landscapes of Film and Media (2016), the co-author, with Gallent and Marco Bianconi, of Planning on the Edge (2006) and has published articles in journals such as Antipode, IJURR, Society and Space and Urban Studies. Lawrence Webb is Senior Lecturer in Film Studies at the University of Sussex, UK. He is author of The Cinema of Urban Crisis: Seventies Film and the Reinvention of the City (2014). He is co-editor, with Johan Andersson, of Global Cinematic Cities: New Landscapes of Film and Media (2016), and with Joshua Gleich, Hollywood On Location: An Industry History (2018).

• American Cinema and Urban Change: Industry, Genre, and Politics from Nixon to Trump, Johan Andersson, King’s College London, UK and Lawrence Webb, University of Sussex, UKPart One: Film Production and the Postindustrial TurnDaniel Bell, Post-industrial Society and Los Angeles Cinema c.a 1967–72, Mark Shiel, King’s College London, UKMade in New York: Film Production, the City Government, and Public Protest in the Koch Era, Lawrence Webb, University of Sussex, UK You Don’t Have to Call Us Home, but Please Stay Here: The City Film Commission, Nathan Koob, Oakland University, USAThe Boston Movie Boom, Carlo Rotella, Boston College, USAPart Two Postindustrial Narratives and Aesthetics The New Boston and the Grip of Tradition: The Friends of Eddie Coyle (1973), The Brink’s Job (1978), and The Verdict (1982), Stanley Corkin, University of Cincinnati, USAUndead Detroit: Crisis Capitalism and Urban Ruin, Camilla Fojas, University of Virginia, USAThe Flexible Urban Imaginary: Postindustrial Cities in Inception, The Adjustment Bureau, and Doctor Strange, Nick Jones, University of York, UKA Networked Life: Representations of Connectivity and Structural Inequalities in Fruitvale Station, Amy Corbin, Muhlenberg College, USAPart Three Cinema and Gentrification 9 For Whom Are the Movies?: The Landscape of Movie Exhibition in the Gentrified City, Brendan Kredell, Oakland University, USAEbbets Field and Other Monuments: Outer Borough Neighborhoods and Revanchism in 1990s Cinema, Erica Stein, Vassar College, USAGentrification by Genre: Desperately Seeking Susan and the 1980s Screwball, Johan Andersson, King’s College London, UKFrances Doesn’t Live Here Anymore: Gender, Crisis, and the Creative City in Frances Ha and The Giant Mechanical Man, Martha Shearer, King’s College London, UKIndex

The authors accomplish an immense feat when giving form to the feeling of incongruence that grips one as they walk through the locations these essays discuss … [this book] gives one the language to understand one’s place in the socio-spatial world.

Johan Andersson is Senior Lecturer in Urban Geography at King's College London, UK. He is the co-editor, with Lawrence Webb, of Global Cinematic Cities: New Landscapes of Film and Media (2016), the co-author, with Gallent and Marco Bianconi, of Planning on the Edge (2006) and has published articles in journals such as Antipode, IJURR, Society and Space and Urban Studies. Lawrence Webb is Senior Lecturer in Film Studies at the University of Sussex, UK. He is author of The Cinema of Urban Crisis: Seventies Film and the Reinvention of the City (2014). He is co-editor, with Johan Andersson, of Global Cinematic Cities: New Landscapes of Film and Media (2016), and with Joshua Gleich, Hollywood On Location: An Industry History (2018).

• American Cinema and Urban Change: Industry, Genre, and Politics from Nixon to Trump, Johan Andersson, King’s College London, UK and Lawrence Webb, University of Sussex, UKPart One: Film Production and the Postindustrial TurnDaniel Bell, Post-industrial Society and Los Angeles Cinema c.a 1967–72, Mark Shiel, King’s College London, UKMade in New York: Film Production, the City Government, and Public Protest in the Koch Era, Lawrence Webb, University of Sussex, UK You Don’t Have to Call Us Home, but Please Stay Here: The City Film Commission, Nathan Koob, Oakland University, USAThe Boston Movie Boom, Carlo Rotella, Boston College, USAPart Two Postindustrial Narratives and Aesthetics The New Boston and the Grip of Tradition: The Friends of Eddie Coyle (1973), The Brink’s Job (1978), and The Verdict (1982), Stanley Corkin, University of Cincinnati, USAUndead Detroit: Crisis Capitalism and Urban Ruin, Camilla Fojas, University of Virginia, USAThe Flexible Urban Imaginary: Postindustrial Cities in Inception, The Adjustment Bureau, and Doctor Strange, Nick Jones, University of York, UKA Networked Life: Representations of Connectivity and Structural Inequalities in Fruitvale Station, Amy Corbin, Muhlenberg College, USAPart Three Cinema and Gentrification 9 For Whom Are the Movies?: The Landscape of Movie Exhibition in the Gentrified City, Brendan Kredell, Oakland University, USAEbbets Field and Other Monuments: Outer Borough Neighborhoods and Revanchism in 1990s Cinema, Erica Stein, Vassar College, USAGentrification by Genre: Desperately Seeking Susan and the 1980s Screwball, Johan Andersson, King’s College London, UKFrances Doesn’t Live Here Anymore: Gender, Crisis, and the Creative City in Frances Ha and The Giant Mechanical Man, Martha Shearer, King’s College London, UKIndex

The authors accomplish an immense feat when giving form to the feeling of incongruence that grips one as they walk through the locations these essays discuss … [this book] gives one the language to understand one’s place in the socio-spatial world.