WILL THE REAL/REEL LOS ANGELES PLEASE STAND UP?

Abstract

This paper gathers potent visual images of one city, Los Angeles (L.A.), by examining three contemporary films— L.A. Story (1991), Boyz N the Hood (1991), and Grand Canyon (1991). It argues that popular culture, and in particular popular film, is an integral part of the portrayal of the cultural landscape. This paper primarily uses the assorted visual images of the urban landscape in considering how this one city has been recently depicted. The three films reveal a city shaped by rapid changes in urban America, depicting Los Angeles as an urban area composed of a fragmented landscape divided into many geographies: L.A. as a realm of simulations and void of consequences; L.A. as a city under siege, a place of epidemic violence and fear; L.A. as a place obsessed with security and control; L.A. as an increasingly ambiguous and chaotic place. Far from concluding that cities have become so fragmented that they are ageographic, these films reveal various geographies that are rooted in economic, political, and cultural contexts. Attention to the “restlessness” of cities and the postmodern focus on the instability and chaotic nature of urban experience actually challenge geographers to uncover the multitude of geographies of place. Interpreting the many geographies of Los Angeles shows that film can reveal a uniquely visual catalog of human experience of place, supplementing the ways in which we decipher place image and representation. This paper suggests that film is one way by which previously marginalized groups, such as blacks, can disseminate ideas from the margins and provide alternative experiencesof place. Geographers should add film to the cache of qualitative data that constructs an urban experience through images and representation, widening the discussion of what is place

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