PLAY IN THE CITY

Recommendations

Info

Figure 2: Film still showing Moonee and her mother Halley, The Florida Project. Sean Barker, dir.(New York: A24 Films, 2017).
06.Disneyland is presented as imaginary in order to make us believethat the rest is real, when in fact all of Los Angeles and Americasurrounding it are no longer real, but of the order of the hyper-realand of simulation. It is no longer a question of false representationof reality (ideology), but of concealing the fact that the real is nolonger real, and thus of saving the reality principle. 2The Florida project stresses the dream like situation with the wallsof Disneyland; which in turn makes us more aware of the contrast ofthe ‘real’ gritty of life just beyond its walls. Baudrillard’s posits that weenjoy and exacerbate the physical thresholds to places like Disney land.We control these imaginary places, so they can be seen to be divorcedfrom the rest of the ‘real’ world. Baudrillard suggests that we do thisto distract ourselves of the simulated or ‘hyper-real’ nature of theworld beyond its walls. In this sense, it could be understood as a kindof ‘hyper’-escapism. Baudrillard asks us to consider to the ‘hyper-real’as the conflated layers by which we perceive information; simulationdisplaces its origins, as ‘simulacra’. 3 As a new truth replaces an oldtruth, we loose our footing on what came first. Within our currentcontext, anyone can be a storyteller, and the story is able to stray as farfrom the ‘truth’ as it wants to.If we return to the emphasis of the Florida Project, this story suggeststhat society imposes restrictions on the participation in designatedzones for the imaginary. We could say that the ability to escape to themake-believe is a luxury only afforded by privilege. This, as Baudrillardwould point out, is an observation made on the back of a piece ofsimulated media; we do not have a stable footing on reality to beginwith._2. Jean Baudrillard. “Simulacra and Simulations”, in Jean Baudrillard: Selected Writings. Edited byMark Poster. Translated by Jacques Mourrain. 2nd Revised edition. (Stanford, Calif.: StanfordUniversity Press, 2002), p. 175.3. Baudrillard, “Simulacra and Simulations”, p. 169.29
Page 1: REFLECTIONS+STUDIES IN CONTEMPORARY
Page 4 and 5: CONTENTSREFLECTIONSESSAY3591321_232
Page 6: Figure 1: Lowry, Laurence Stephen,
Page 9 and 10: 01. REFLECTIONTHEORISING PLAYWEEK 3
Page 11: 00. ESSAYTHE STREET PARTYTHINKING T
Page 14 and 15: 02.writing; its character, mood and
Page 16 and 17: 00.What then are we seeing in Lowry
Page 18 and 19: 03.and other functional space. Soci
Page 20 and 21: 00.Let us return to Huizinga and pl
Page 22 and 23: 00.Carnival, in particular, has a s
Page 24 and 25: 00.Lefebvre guided us to think that
Page 26 and 27: Figure 1: Tarvy Bridge Social Club,
Page 28 and 29: 04.We can understand place to be di
Page 30 and 31: Figure 3: “Thamesmead all stages
Page 32 and 33: 05. REFLECTIONTHE CITY, SPACE AND T
Page 34 and 35: 06. REFLECTIONSIMULATIONWEEK 8, 13.
Page 38 and 39: 07. REFLECTIONIMMERSIONWEEK 9, 20.0
Page 40 and 41: 07.Galloway criticises Montgomery
Page 42 and 43: 08.RepresentationBourgeouis novel,

PLAY IN THE CITY

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?