s

THE VATICAN TO VEGAS

A History of Special Effects

Norman M. Klein

THE NEW PRESS

NEW YORK LONDON

Contents

Introduction: The Vatican to Vegas

PART I SCRIPTED SPACES AND THE ILLUSION OF POWER, 1550-1780

1 Baroque Immersion, Baroque Artifice

2 Perspective Awry

3 Masques

4 Happy Imprisonment: Labyrinths

5 Burning Down Vesuvius:

Late Baroque Gizmos and Fiery Illusions, 1750-1780

PART II BUILDING THE UNEXPECTED:

1

19

27

51

67

97

116

INDUSTRIAL FABLES AS SPECIAL EFFECTS, 1780-1964 133

6 After 1780: The Baroque Imaginary into Science Fiction 141

7 Aloft: Jules Verne; FelixNadar; Edgar Allan Poe 161

8 Oz 173

9 Panoramas: A Crow's Nest Over London;

Walking Through Gettysburg 180

10 The Virgin and the Dynamo: World's Fairs, 1851-1964 191

PART III ALIEN THRILLS: EPIC SHOCKS ON SCREEN, 1895 TO THE PRESENT 205

11 Movie F / X: Making Heads Roll 213

12 2001 to 2001: Immersion into Deep Space; Baroque Reincarnation 229

vi CONTENTS

13 Animation as Baroque: Fleischer Morphs Harlem;

Tangos to Crocodiles

14 Panoramic Chases into Nowhere:

247

From Tex Avery to Independence Day 269

15 The Sim Future of the Cinematic City 283

PART IV THE ELECTRONIC BAROQUE: 1955-2050 299

16 Noir Disney 307

17 SCripted Spaces: Navigating the Consumer-Built City 321

18 Outside the Labyrinth: Architainment in Las Vegas 330

19 The Disappearing Nineties: Jerde Cities 352

Conclusion: Easy Credit:

Driving Two Hundred Years a Day in Los Angeles 363

Afterword: Bush as Baroque Special Effects (December 23,2000) 379

Appendix: Search Engine for the History of Special Effects 395

Notes 407

Index 481

~ i

Index

Note: Entries in boldface represent keywords as outlined in the Appendix (Search Engine). Page numbers in italic refer to illustrations.

absolutism, 14, 383-84, 398 The Abyss (film), 250 Acron, Al, 340 Adams, Henry. 191-92,203 Adept, Mark, 296 Adorno, Theodor, 129 Adventures of Baron Munchhausen (Raspe),

118 The Adventures of Robin Hood (film), 178 Aelita (film), 220 Afghanistan, 93-94, 331 The African Queen (film), 309 agitprop, 77-79

as anti-masque of 1920s, 77-79 antivvar movement and, 92-93 contemporary, 78-79, 92-96 institutionalization of, 78-79 media/political culture and, 78-79,

92-96 AI (film), 232 Alien (film), 235 Aliens (film), 241 Alpine Climbers (cartoon), 255 Alter, Robert, 318-19 Alton,John,292 The Ambassadors (Holbein), 64 aDlusementparks, 401, 402

Baroque Artifice and, 38, 401, 402 Baum's Oz and, 175-76 cartoon metamorphosis and, 257, 258 chaos of, 314-15 Coney Island, 183, 195,258,314-15,

402 death imagery and rides, 312, 323-24 early Disney designs and, 312, 313-14,

315 labyrinths and, 103-4 as movie sets, 308, 312-14 panoramas and, 183-84 seaminess andnoir of, 315-'-16 vaudeville and, 314 See also roller coasters

anamorphosis, 399, 401 Baroque perspective and, 41, 59, 64-65 fixed perspective and, 59 future political, 65-66 Lacanon,64 painted dome ceilings and, 41

anamorphotic panoramas, 399. See also panoramas of nineteenth century

Andalusian Dog (film), 220 androids, 122 Andromede (play), 24, 29 Anglican Church, 49

~---------------------~ 482 INDEX

animated action films, 269-82 Baroque roots of, 274-75 chase cartoons, 269-71, 277-78 critical misreadings of, 280-82 digital effects era and, 282 dramatic structure/narrative and

character development, 277-81 early fix crafts, 275-76 explaining impact on audiences, 273-75,

280-82 interactive journeys and, 276-77 marketing and contemporary, 281-82 masques and, 259, 274-75 and the metonym of special effects,

273-74 shrinking effects in, 275-76 studio work environments and industry

divisions of labor, 272-73 animation, 247-82, 401

cartoon color musicals of 1930s, 178 cartoons as early trick-films, 216, 275 character animation and, 249, 276-77 critical misreadings of special effects

films' base in, 280-82 evolution of, 248-49 illusion and the "real" in, 249 interactivity and, 276-77 in marketing and inStructional use, 248 place in special effects, 247-50, 280-82 as primitive story grammar for

Electronic Baroque, 247-48 as sensory echo, 248 3-D cinema and, 256, 270, 276, 313 uneasy alliances with industrial

melodrama, 248, 249 See also animated action films;

animation and cartoon metamorphosis

animation and cartoon metamorphoSis, 250-68

allegory and, 253, 264-65, 267-68 Artifice and, 251-52, 253-54 Betty Boop's Snow White and, 256-60 bodies in, 252-58 colliding atmospheres of, 251-52

composited space and, 223, 252-54 decay and loss in, 253 differences between Fleischer and

Disney; 255-56 Disney and, 254-55,256 erasure and, 252-54 Fleischer Studios and, 255-61 hesitations /lapses in, 251-55, 262-68 interiority and, 267-68 Leaf's hesitations /lapses, 263-64 "lightning hand" sketches, 250 macabre and morbid cartoons,

260-61 masque and, 259 morphingeffects, 250-51, 252-54,

258-59,268 puppets, 266-68 Quay brothers' hesitations /lapses,

264-67 self-reflexivity and, 251, 253-54 streetwise anxiety; urban unease, 261 Svankmejer's hesitations/lapses,

262-63 3-D systems, 256 traced memories and, 257-60 trompe l'oeil and, 251, 253, 262

anime, 159 anomaly; 157-58 anti-masque, 68, 73-79,91-96 anxiety; contemporary American, 261-62 '~pollo and the Muse at Mount Parnassus"

(fireworks display), 25 Aragon, Louis, 186 arc-lit cities, 178-79,400,401 arcades, shopping, 186, 193. See also

shopping malls Arcades Project, 186 architecture

animation paradigm in, 325 of casinos, 103-4,349,350-51 cinematic special effects and, 238, 402 and consumer-built environments of

Electronic Baroque, 325 empty frames and architectural

photography; 325

r , INDEX 483

N eoplatonism and Baroque, 80 panoramas of nineteenth century as

modern, 181, 182-85 split between Baroque optics and,

144-45,399 See also Baroque theatrical special effects;

consumer-built environments of, Electronic Baroque; labyrinths

"The Architecture of Decay'.' (Columbia University), 101

Argo=e (CASS company), 380 Aristotle, 45 Ars Magna Lucis et Umbrae, 21 Art Nouveau, 127, 147, 244 Artifice, 397

Baroque automata and, 120-21 Baroque immersion and, 27-50,

397 Baroque painting and, 39-46, 47-49 Baroque theatrical effects and, 30, 31-33,

38-39 cartoon metamorphosis and, 251-52,

253-54 cinematic facade cities and, 287-89,

291-92 dualism and, 39-40, 39-46 masques and, 30, 38, 73 panoramas and, 46-47, 49, 184-85 See also immersion

artificial intelligence (AI), 232-33, 234. See also robots

artisans, 396, 401. See also craftsmanship Asimov; Isaac, 230 Astley; Philip, 130 Audley's Castle (Ireland), 117 auto-da-fe, 13-14,45,397 automata, industrially made, 401

artificial intelligence, 232-33, 234 robots, 122,230,232-35,240-41

automata, late Baroque, 119-24, 153-54, 400,401

Artifice and, 120-21 Baroque alliances and hierarchical

references in, 123-24 Baum's Ozand, 176

species of, 121-23 steam engines and, 153-54 subsequent interpretations of, 123

avatars (bodies in cyberspace), 122 Avery; Tex, 255,269-71, 277, 368 axismundi, 45, 80, 85,86

Babbage, Charles, 120, 128, 142, 143, 152-53

Bailey; Dave,"346, 347 Bakhtin, Mikhail, 31 Ballet Mechanique (film), 220 balloon travel, 162-66, 167-68 Balzac, Honor de, 12, 146, 152 The Band Concert (animated film), 254-55 Banvard,John,189 Barbie, 365-66 Barker, Henry Aston, 182 Barker,Jane, 115 Baroque Imaginary (1780-1840), 141-60,

399 anomaly and, 157-58 Baroque automata and, 153-54,400 Baroque nostalgia and, 142-43, 147-48,

158-59 Baroque toys/ gizmos and, 144, 152, 156 craftsmanship and, 5,152-53,400 defining, 146-47 entertainment media of, 156 Gothic Revival and, 151, 159 hoaxes and, 161-62,167, 170,179 machines and, 147,148-56,400 mechanics of repetitive motion, 153 miniature Baroque mechanics and,

171-72 Oz and, 159, 175 Poe and, 161, 165-71 psychotropic side of, 160 resistance to manufacturing in,

151-52 revolutionary politics and, 154-55 science fiction and, 142-43, 147-48,

158-59,162-71 steam power and, 148-56 trompe l' oeil and, 147

--~------------------------------.... ~ l'

4,84 INDEX

Baroque Imaginary (1780-1840) (cont.) See also early industrial economy (late

eighteenth century); late Baroque (1750-1780)

Baroque optics, 6, 395, 397, 399 after 1780, 144,399 anamorphosis and, 41, 59, 64-65, 399,

401 Baum's Oz and, 176 fixed perspective and, 59 labyrinths and optical illusions, 112-14,

176 magic lanterns and, 58, 144,283 miniature cameras and, 57-58 photographs and, 58-59 spectacles (lenses), 112-14, 176 split between architecture and, 144-45,

399 See also perspective, Baroque

Baroque painting and special effects, 39-46

dualism and invasion of natural by Artifice, 39-46

immersive techniques, 39-46, 47-50 immersive tricks and demons, 43-45 painted ceilings and]acob's Ladder, 41,

45-46 painted dome ceilings, 8, 40-43, 45-46,

47-50,62-63,322,395,403 and panoramas of nineteenth century;

46-47,49,184-85 See also perspective, Baroque

Baroque perspective. See perspective, Baroque; Perspective Awry, Baroque

Baroque theatrical special effects, 27-33 Artifice and, 30, 31-33, 38-39 audience/ spectators, 30, 37-38, 40 early modern state and, 32-33, 36-37,

396-97 fatalism and, 35-36, 39 in literature, 27-29 machinery sounds and, 31, 32 as non-democratic, 33 parallels with Electronic Baroque effects,

31-32,33,38-39

politics and, 32-33, 36-37 reemergence of (post-1955), 31-32 Sabbatini's, 28-29, 144-45 theaters and stage designs, 30, 38, 40, 70 tools of war, 36-37 Torelli's theaters, 29-30, 37, 38, 70,

144-45 See also 1TIasques

Barry Lyndon (film), 232 Barthes, Roland, 12, 110, 177-78,357-58 Batailles, Georges, 109 Baudelaire, Charles, 110-11, 123, 155,

183 Baudrillard,]ean, 63,281,383 Baudry,]ean-Louis,32 Bauhaus, 78, 244 Baum, L. Frank., 174-77, 178-79. See also Oz Bazin,Andre, 31,277 Beaumont, Francis, 69 Beauty and the Beast (television), 102 Beaux Arts, 195 Bel-Geddes, Norman, 196,245,316 Bellagio Hotel (Las Vegas), 63, 332, 337,

341-42,344,350-51 Belimer, Hans, 123 Belmont Tunnel (Los Angeles), 294 Benjarnin, Walter, 12,31,127,279

agitprop and, 78 panoramic views and, 186 sense of allegory (as ruin), 36, 40, 156,

253 Bentham,]eremy, 153, 156 Bernini, Giovanni, 55, 353, 355 Betty Boop's Snow White (animated film),

256-59 "Big Wows," 307, 313 Bigelow, Kathryn, 243 Bimbo's Initiation (animated film), 259 Bin-Laden Osama, 105 Binion, Be=y, 340 Black.ton, Stuart, 215, 250 Blade Runner (computer game), 286 Blade Runner (film), 235, 242-43, 245, 290,

357,379 Bleeding Through (Klein), 288

l

....

Blix, V. H., 383 Blue Velvet (film), 310 Boal, Auguste, 78 Boilerplate (mechanical man), 179 Bold Slasher (parody), 73 books

as Baroque computers, 12, 16,34-35 movable,58,198 See also literature; science fiction

Borges,jorge Luis, 105, 107 Borowczyk, Walerian, 281 Bossi, Antonio, 61, 62 Boswell, james, 117 Botticelli, Sandro, 80 Bouile, Pierre, 119 Bradbury, Ray; 202, 315 Bram Stoker's Dracula (film), 226 Brazil (film), 228, 245 Breathless (film), 213 Brecht, Bertolt, 40, 78, 279 Brown,Samuel,149 Brunelleschi, Filippo, 51-52 Bugs (computer game), 243 Bunker Hill (Los Angeles), 323 Bunuel, Luis, 220 Burke,Edmund,127 BurlingtonArcade (London), 325 Burnham, Daniel, 195 Burton, Decimus, 181 Burton, Tim, 239 Bush, George W, 65, 79, 95, 96,105,380,

384-85,392,404-5. See also presidential election of 2000

The Cabinet of Dr. CaIigari (film), 219 cable news, 13,93-95,245,387-88,389,

390. See also media, global Caesar's Forum (Las Vegas), 4, 336 Caesar's Palace casino (Las Vegas), 4, 338,

349-50 Caesar's World Mail (Las Vegas), 4, 63 Cagney and Lacey (television), 293 Callot,jacques, 74, 88, 398 Camelot, 159 camera lucida, 57-58

INDEX

cameras and perspective miniatures,57-58 trick photography; 221-22, 223-24

Cameron, james, 282 Camillo, Guillo, 43-44 campesino theater, 78 Campion, Archie, 179 Campion, Thomas, 84 Canal City Hakata (Fukuoa, japan),

358 Canyon du Chelly; 358 capitalism, 400-401

condensed cities and, 344-45 Electronic Baroque and, 344-45 global economy and new global city;

374-76 global media and, 391-92, 400 Internet and, 104-7 jerde cities and, 353 mutable space and postindustrial,

375-76 Ozand,177 uneasy alliances of, 238-39 warlord, 104-7,391-92,404-5

485

See also global economy and new global cities

Caravaggio, Michelangelo Merisi da, 39 Carceri (Piranesi's imaginary prisons),

101-3 carnivals, 73-75,90-91,401. See also

circuses Camy Kill (Alter), 318-19 Carrey,jirn, 269, 270, 278 Cartoon Factory (animated film), 260 Caruso, Rick, 202 casinos

architecture of, 103-4,349,350-51 changes in global entertainment culture

and,331-32 gigantism and, 349 immersion and, 350-51 "junked up" appearances, 321-22, 326,

348-49 labyrinths and, 103-4,338-41 slot machines and, 338-41

------------------------486 INDEX

qsinos (cont.) surveillance at, 349-50 See also Las Vegas

The Castle of Otranto (Walpole), 143 ceilings, painted. See domes, Baroque

painted The Cell (film), 288 cell phones, 122 Cellhri,Benvenuto, 44-45 cellular automata, 122 Centennial Exposition at Philadelphia

(1876), 185, 195-96 CGI (computer graphics imagery), 236,

243,246 Chandler, Raymond, 289, 317 Chardin,]ean-Baptiste-Simeon, 124 Charles I, 71, 85 Charles V; 44 Charles X, 146 Charpeau, Francois, 24 chase cartoons, 269-71, 277-78 "cheat codes," 10,97-98 chiaroscuro (tenebrism), 39 Chicago World's Fair (1893) (Columbian

Exposition), 178-79, 195,196,203,314 . Chinatown (film), 293 Chinea (festival), 116 Chtcheglov; Ivan, III Church of San Ignazio (Rome), 42, 64 CIA (Central Intelligence Agency), 380-81 Cinecitta (Berlin movie studio), 295 cinemascopes, 313 cinematicIabyrinths (cine-labyrinths),

107-8,230,232,238 cinematic special effects, 213-28

architectural effects and, 238, 402 atmospheric, 222 Baroque perspective and, 31, 58, 59, 232 blankness/ emptiness and, 229-31,

237-38 and bridge between late Modernism and

Electronic Baroque, 229-46 cities and movie shock., 215 cities and spectacle, 214-15 compositing and, 215, 216-18,223-26

contemporary tricks and improved techniques, 224--26

early emerging craft of, 219-22 expressive, 224-25 fake fetishes, 227-28 global capitalist alliances and, 238-39 global media and, 233-34, 237, 238-40 global power and, 243-44 HAL and, 230, 232-35 hidden, 221, 223 human body and, 227-28 immersion and, 225,226-27 jump cuts, 213 Kubrick.'s 2001 and, 16,229-34,237-38 labyrinths and, 107-8,230,232,238 "making of" films and, 227-28 mattes and, 216-19, 221, 224, 275-76 Meliesand,213-14,215 miniatures and other fix crafts, 275-76 Modernism as precursor to, 244 neo-feudalism and f/x message, 237-38,

239-40 noir aesthetic, 224--25, 286-87 optical printing and, 217-19, 224 perspective and, 59-61 point of view and, 221,223 political conservatism and, 236-39 production and, 238 pyrotechnics and feudal combat, 241-42 scene changes, 221, 223 silent films, 219-22, 227 stop-motion effects, 225, 266-68, 276 "substitution shots," 213-14, 220 survey of special effects since 2001,

240-46 trick. films, 213-14, 215-16,219-24,275 trompe roeil and, 218-19, 402-3 See also animated action films; cities,

cinematic circus barkers, 18, 313 circuses, 18, 130,313,401. See also carnivals cities, cinematic, 283-98

computer games and, 286, 296, 298 conservative/ reactionary ideologies

and, 288, 298

~-

INDEX 487

crime and urban chaos/ decay; 286, 288-89,291

facade cities and Artifice, 287-89, 291-92 future of, and imagining alternatives to,

298 imago of, 285-89, 291-92 as labyrinths, 285 Las Vegas and, 286, 296, 336, 343-44,

345-48,373 Los Angeles and, 4, 290, 292-95, 297 neo-noirs featuring, 286-89, 291, 292 New York as, 289-92, 296-97 nineteenth century panoramic cities

and, 283-84 tourism and, 284-85, 294-95 See also condensed cities; Jerde cities

The City of Lost Children (film), 179 City of Quartz (Davis), 373 Citywalk (Los Angeles), 322, 337, 342,

356-57,361,376, calor plate 7 Clair, Ren€:, 220, 265 Clampett, Bob, 255, 269 Clark, Alfred, 213 Clarke, Arthur C., 229, 230 Clarke, Charles, 227 Clash of the Titans (film), 225 clocks

as Baroque automata, 120, 154 Baroque Imaginary and, 171-72 cuckoo, 171-72 Poe and, 171-72

A Clockwork Orange (film), 232 Close Encounters of the Third Kind (film), 235 Cloud Chariot, The, 24 Coates, Claude, 243 Cobweb Hotel (animated film), 260 Cohl, Emile, 216, 220, 227, 275 Cold War, second half of (1962-1989),

365-67,402-3. See also global economy and new global cities

Coleridge, Samuel Taylor, 146, 170 collage, 304

Colosseum (London panorama), 135, 181-83,184,190

Columbia University; 101

Comedie Fran<;:aise, 117 Comedy Lane (Coney Island), 315 Comenius, 112-13, 176 Complex Adaptive Systems (CASS), 380 compositing

animation and, 223, 252-54 Baroque, 395, 401 cartoon metamorphosis and, 252-54 early cinema special effects and, 215,

216-18,223-26 movie mattes and, 216-18 trick photography and, 223-24

computer-aided design (CAD), 101 computer games

"cheat codes" within, 97-98 cinematic cities and, 286, 296, 298 labyrinths and, 103, 104-5

computer graphics imagery (CGI), 236, 243,246

computer monitors, 59-60 Conan stories, 159 condensed cities, 296, 342, 343-47, 352,

360-62 Condillac, Etienne Bonnet de, 121, 156 Coney Island, 402

amusement parks and, 183, 195,258, 314-15,402

author's youth in, 3, 106 Betty Boop's Snow White and, 257, 258 chaos of, 314-::15 roller coasters, 106,202-3,314,323-24,

402 A Connecticut Yankee in King Arthur's Court

(Twain), 159 consumer-built environments of

Electronic Baroque, 321-29, 333-34 ambivalences in, 310-12, 324 animation paradigm in architecture, 325 borrowings from Baroque, 324-25,

328-29,353 casinos, 321, 322 class politics and culture of control, 322,

326-27 empty frames and architectural

photography; 325

"

!

~----------------------------.• 488 INDEX

consumer-built environments of Electronic Baroque (cont.)

global consumerism and, 333-34 illusionism and narratives of control in,

322,324-27 immersion and navigation through,

325-26 ]erde cities, 352-62 '}unked up" appearances, 322, 326,

348-49 labyrinths and, 327-29 and personal reception of the virtual, 328 popularism and political repression in,

322 postmodernism and, 325, 326 problems unique to, 325-27 shopping malls as, 322, 324-26, 334,

352-53,354 surveillance at, 322, 326 urban planning and, 323 See also cities, cinematic; Disneyland

(Anaheim); Las Vegas; metropolitan suburbs

consumerism. See consumer-built environments of Electronic Baroque; global economy and new global cities; global entertainment and consumer culture

Conversations with D'Alembert (Diderot), 121 The Conversion of Saint Paul (Caravaggio),

39 Cook,]ames, l30 Cook's Tours, 400. See also tourism Coppola, Francis Ford, 226 Corneille, Pierre, 29

. Cornell,]oseph, 58 corporations. See global economy and new

global cities;]erde cities Correggio, Antonio, 42 Counter-Reformation, 42, 48-49, 54, 372,

384,395,397,399 Cox,]ames, 128 craftsmanship and crafts tradition, 5,

152-53,272-73,396,400,401. See also automata, late Baroque

Crawford,11argaret,356 Crazy Ray (film), 265 Crystal Palace Exhibition of 1851

(London), 183, 192, 198 Cubism, 127,220 Cubo Futurism, 194, 220 cuckoo clocks, 171-72 Culinary Workers Union, 351 cybernanthropes, 122 cybernetics

digital control and feedback systems, 122 labyrinths and virtual systems, 327-28 matrices and, 403 meta-consumerism and, 403, 404 spectacles and, 383

cyberpunkdystopias, 115,235,245 cyberspace, 86, 122 cyborgs, 122,232-33,379,403 Cyclone (roller coaster), 106,314 Cyrano de Bergerac, Savinien de, 27-28, 29

Daguerre, Louis, 181, 187 Dali, Salvador, 220 Dance, Sir Charles, 150 Dante Alighieri, 109 Dark City (film), 43, 234, 380 The Dark Knight Returns (11iller), 285 David,]acques-Louis, 124, 146 Davis, 11arc,243,308,351 Davis, 11ike, 370, 371, 373 De Artificiali Perspectiva, or Anamorphosis

(film),65 de Girardin, Ernile, 148 de 11an, Paul, 123,233 De Quincey; Thomas, 102-3 Dead End (film), 290 Dead to Rights (computer game), 286 Dean,]ames, 295 Defense Advanced Research Projects

Agency (DARPA), 381 Deleuze, Gilles, 63,114-15,265 Democratic Convention (Chicago) (1968),

92-93,96 Democratic Party; 92-93,245 Denby; David, 280

1

INDEX 489

department stores, 193,400 Descartes, Rene, 38, 80, 81, 118, 120, 121 Dickens, Charles, 102, 111, 187,284 Diderot, Denis, 117, 119, 121, 124, 126 Die Hard (film), 107 Difference Engine, 128, 153 Dimensions of Dialogue (animated film),

262-63 Diorama; or Moving Scenery (play), 189 dioraDlas,60, 145,181,187,402.Seea~o

panoraDlas of nineteenth century Discworld Noir (computer game), 286 Disney; Walt

Baroque nostalgia of, 128,308-9 and cartoon metamorphosis, 254 and Disney attractions, 307-9 early designs for Disneyland, 309-10,

312-13,315-18 as mayor, 202 and New York World's Fairs, 198-99,316 railroad/ toy train obsession of, 308,

309-10 scatological humor and gags of, 317-18 view of aDlusementparks, 312-13,

315-16 on "weenies" and "the Big Wow," 307

Disney animation bodies, 254-55, 256 cartoon metamorphoSiS and, 254-56 Cohl and, 227 Fleischer animation and, 255-56

Disney attractions Baroque special effects and, 308-9 berms, 302, 307-8 as movie sets, 285-86, 308, 312-13,

316-17 nostalgic Baroque miniatures, 308-9 panoramas, 308 Tomorrowland,302 weenies and big wows, 307-9 See a~o Disney World (Orlando);

Disneyland (Anaheim) Disney World (Orlando)

building of, 318-19 cinematic city movie sets at, 285-86

as Disneyland's doppelganger, 318-19 EPCOT and, 199-200 imago of cinematic cities at, 285-86

Disneyland (Anaheim) amusement park settings and, 313-16 as Artifice (like Oz), 177 carny noir and Disney domesticity at,

319-20 cleanliness of, 315-16, 317 death imagery and movie rides, 312 Disney's early designs for, 309-10,

312-13,315-18 the "future" and, 200 as gated community; 312-13 happy imprisonment and, 322 labyrinths and, 103-4 Las Vegas and, 310, 333-34 Main Streets and, 179,309-10,318,344 as movie set, 312-13, 316-17 and New York World's Fair (1939), 316 as noir Disney; 309-20 and paradox of consumerism, 311-12 paradoxes and ambivalences of, 310-12,

324 as scripted space, 103-4,322,324,333-34 surveillance at, 319-20

Dissolving Views panorama (St. Louis), 188-89

"Dizz Knee Land" (song), 311 dODles, Baroque painted, 8, 40-50,62-63,

322,395,403 multiple perspective and, 46, 59 Neoplatonism and, 80 in'nineteenth century special effects

houses, 128 as Perspective Awry trick, 56-57 Pozzo's, 42-43, 47-48 in shopping malls, 324-25

Don Giovanni (Mozart), 35-36 Don Quixote (Cervantes), 109 Doom (computer game), 97 Dore, Gustave, 164, 184,214,221,284 Dreamland (Coney Island), 183, 195, 314,

402 Dreyfuss, Henry; 198, 199

490 INDEX

Drottningholm Court Theater (Stockholm),24, 29-30

Droz (Jaquet-Droz), Pierre, 120 Druids,82 Drummond, Thomas, 151 dualism and Baroque special effects, 39-46 Duchamp, Marcel, 33, 34, 123,220 Dufour,joseph, 129-30 DUnning-Pomeroy traveling matte, 209 dynamos, 191-92,203

early industtial economy (late eighteenth cenmry), 141-60

and birth of science fiction, 142-43 heritage of Baroque special effects in,

142,144-56,399-400 machinery and, 143-44, 148 mercantile bourgeoisie and, 145-46 new media and, 141 new theatrical staging and audience

roles, 145 world wars and revolutions changing,

144-45 See also Baroque Imaginary (1780-1840)

Eco, Umberto, 99,103-4 The Ecology of Fear (Davis), 373 Edison, Thomas, 58-59,175,179,195 Edison's Conquest of Mars (Servis), 175 Egyptian Theater (Los Angeles), 4 Eidophusikon, 145 Eiffel Tower, 193-94, 344, 402 Eisenstein, sergey; 78, 103, 317 El Capitan (Los Angeles), 4 Electronic Baroque, 403-5

animation as primitive story grammar for, 247-48

architecture of, 321-29, 333-34 Baroque effects/illusions and, 31-32, 33,

38-39,403 Bush as special effect of, 384-85, 392 capitalism and, 238-39,344-45 false memories and forgetting in, 368-70 global English and, 335 global entertainment/ consumer culture

and, 331, 333-38

global media and, 235, 379-93 global tourism and, 336 Hollywood f / x and, 236-46 jerde cities and, 352-62 Kubrick's 2001 launching, 229-30, 232 Las Vegas and, 330-51 modernism and, 244 neo-feudalism and, 237-38, 239 new Counter-Reformation and, 372, 384 panoramas of, 230, 232, 237-38,308,402 political conservatism of, 236-40 scripted space as signamre of, 336 unique position of movies in, 238-39 See also consumer-built environments of

Electronic Baroque; Disneyland (Anaheim)

Eliot, T. S., 187 Elizabeth I, 67, 80 Encyclopedia of Amusements in the Sciences,

Mathematics and Physics (1792), 126 Encyclopt!die (Diderot), 117, 124, 126 English Gothic novels, 127 EPCOT (Experimental Prototype

Community of Tomorrow), 199-200 erasure

animation and, 252-54 film-viewing and self-, 281 mutable space and, 375-76

Ernst, Max, 34, 164 L'Eve Future (Villier de LIsle), 175 Evelyn,john,55 Eyes "Wide Shut (film), 42, 232

Fabri, Honor, 48 Fame Queen (Spenser), 82 Fahrenheit (computer game), 296 fairy tales, 158-59 Farmers Market (Los Angeles), 201 "fatal stage property;" 36-37 FaustII (Goethe), 127 FDon Scene (software program), 381 Federal Theater Project (New York), 78 feedback systems. See cybernetics Felix the Cat (cartoon), 250 Ferdinand N of Naples, 116

INDEX 491

Ferris, George, 195 Ferris wheels, 195, 203 Fey, Charlie, 340 Ficino, Marsilio, 80 The Fifi:h Element (film), 85 fireworks,45,91,397,398 Fischinger, Oskar, 220, 227, 248, 251 Five Weeks in a Balloon (Verne), 165 Fleischer, Max, 216, 227, 260-61 Fleischer Studios (New York), 227, 255-61 Florim urban village designs, 361 The Fly (film), 264 For Whom the Bell Tolls (film), 227 Ford,John,222 Forrest Gump (film), 281 Foucault, Michel, 12 Foundation series (Asimov), 230 Fourier, Charles, 141, 142, 153 Fox News, 94, 388 frar.oing, 57-59, 60 Francaviglia, Richard, 318 Francis, Saint, 53 Frankenstein (Shelley), 118, 121, 127-28,

146,278 FranJUin,Benjar.oin,117, 120, 154 Freitag, Walt, 276 Fremont Street Experience (Las Vegas), 63,

350, coIorplate 7 The French Connection (film), 107 French Revolution, 123, 148, 154, 155, 164 Freud, Sigmund, 160 From the Earth to the Moon (Verne), 91,

165-66 Fronde (1649), 398 Frye, Northrop, 79,83 Fuller, Buckr.oinster, 240, 241 fun houses, 401. See also amusement parks Furttenbach,Joseph, the Elder, 5, 52 Fuseli, Henry, 124, 146 Futurama exhibit (1939 World's Fair),

196-98,199,316

Gainsborough, Thomas, 124 Galileo, 118 Galli-Babiena, Guiseppe, 35

gambling, 303 Gance, Abel, 221 Gandelsonas, Mario, 375 Gaulli, Giovanni Battista, 49 Gautier, Theophile, 111, 187 General Electric, 199, 201 Georgetown University, 104 Getty Museum (Los Angeles), 337 Gettysburg, Battle of, 46,189-90 Ghosts Before Breakfast (film), 220 Gilliam, Terry; 239, 245 global economy and new global cities,

363-78,404 class separation and, 364, 371 contemporary American situation and,

376-78 false memories and, 368-70 global cities/urban life, 371-74 global English and, 335,365, 366:-67 "global" L.A. and, 363~76 global tourism and, 371-74, 376-77 internationalization and, 366-67, 370-75 Jerde cities, 352-62 metropolitan suburbs and, 371-74,

376-77 mutable space and postindustrial

capitalism, 375-76 NATO conSl.lmer economy and, 334-35,

365-66 political structures and capitalism in,

374-75 See also capitalism; global entertainment

and consumer culture; media, global global English, 335, 365, 366-67 global entertainment and consumer

culture,115,331,333-38,401,403 changesofI990sand,330-32,337-38 global English and, 335 Las Vegas and, 331, 333-38 museumsand,337~38

world's fairs and, 192, 195 See also global economy and new global

cities; Las Vegas; Los Angeles; media, global

global media. See media, global

~~~----------------.. ---492 INDEX

global tourism. See tourism Goethe,]ohann Wolfgangvon, 35,81,123,

127,146 Gogol, Nicolai, 251 Golddiggers (musicals), 76 The Golem (film), 219 Gone "With the Wind (film), 178 Goodis, David, 284'-85 Goodman, Oscar B., 332 Gore, Al, 389-90, 391. See also presidential

election of 2000 Gothic Revival, 151, 159,362,401 Gottdiener, Mark, 361 Grand Canyon, 47 Grandville,]ean]acques,214 The Great Chain of Being (Lovejoy), 85 Great Exposition of Paris (1900), 191,

283-84 Greenaway, Peter, 31 Gregory, Carl Lewis, 223 Gregory VII, Pope, 9 Gresham, William Lindsay, 18 Griffith's Babylon set, 4 Grim Fandango (computer game), 286 Grimaldi, Francesco, 48 The Grove (Los Angeles), 201-3, 337, 374 Gruen, Victor, 334 Guggenheim Museum (Las Vegas), 337-38 Guinan, Paul, 179 Guldin, Paul, 48 Gulliver's Travels (film), 178 Gunning, Thomas, 214 Gurney, Goldsworthy, 148-51, 152, 153,

156, 181

Hahn, Ernest, 359 HAL,230,232-35 Hallmann,]ohann Christian, 36 Hals, Frans, 40 Hancock'sAutopsy, 150 Handler, Ruth, 366 Harryhausen,Ray, 225, 226 He Walked by Night (film), 293 Hegel, G. W E, 81 Hell (computer game), 286

Hell Cab (computer game), 286 Hench,]ohn,318 Henry IV; 87, 146 Henry VIII, 67, 80 The History of Forgetting (Klein), 12, 242 Hitchcock,JUf[ed,64,292 hoaxes, 17-18

Baroque theaters and, 31 of sdence-as-fiction, 161-62, 167, 170,

179 Hobbes, Thomas, 56, 118, 119 Hoffinan, E. T. A., 123, 146, 170 Hogarth,William,117,119 Holbein,Hans,64 Hollywood Boulevard, 4, 296, 370 Holmes, Sherlock, 111, 142,284-85 Homeland Security Liberty Watches, 243 Hoogstraten, Samuel Van, 57-58 Hopper, Edward, 242 Hornor, Thomas, 181-82 The Horseman (1750), 120 Horton Plaza (San Diego), 354, 359-60, 376 Houdin, Robert, 120 Houdini, 220 Howard, Lady Frances, 69 Hugo,\Trcto~ 164,165 Huizinga,]ohan, 12 The Hulk (film), 278 Hume, David, 117 The Hurricane (Ford), 222 Hymenaei (Jonson), 68-71, 72, 82

L'Idropica (opera), 38 Ignatius Loyola, 43, 48 n Gesu (Renaissance church), 49-50 imago and cinematic dties, 285-89, 291-92.

See also dties, cinematic immersion, 395

Baroque Artifice and, 27-50 Baroque Perspective Awry and, 42-43,

47-48,56-59,62-63 Baroque techniques, 27-33, 39-46,47-50 Baroque theatrical effects, 27-33 Baroque urban planning and, 49-50 cameras and, 57-58

INDEX 493

casino architecture and, 350-5'l dualism and, 39-46 fascist or feudal play and, 47 framing and, 57-59 Kubrick's 2001 and,230-31 Las Vegas, 341-42, 350-51 magic lanterns and, 58-59 movie set scenarios and, 341-42 painted dO,me ceilings and, 42-43, 47-48,

56-57,62-63,395 panoramic,46-47,49,184-85 politics and, 47, 50 Ptolemaic universe and missionary faith,

48-49 See also Baroque painting; Baroque

theatrical special effects Independence Day (film), 262, 271, 280, 281,

366 Indian casinos, 340, 341 Innocents Abroad (Twain), 159 Inquisition, 13-14,45,82,397 Insanitarium (Coney Island), 139, 314-15 installation art, 33 Institute Benjamenta (film), 65 intarsia, 128-29 International Game Technology (IGT),

339-40 internationalization, 366-67, 370-75. See

also global economy and new global cities

Internet Baroque mad scientists and, 142-43 casinos, 341 early; 98,156,334,337,381 as labyrinth, 104-7 Neoplatonism and, 85-86

Iraq,78-79,105,245,385 Irigaray; Luce, 109 Istanbul, 367, 374

Jackson, Helen Hunt, 173 Jackson, Michael, 293 Jacob's Ladder, 41, 45-46, 80 JamesI,68,75,87 Jay; Martin, 109

Jekyll I Hyde, 278-79 Jerde, Jon, 63, 97, 337, 350, 354, 356-59,

361-62, colorplate 7 Jerde cities, 352-62

armature and, 357-58, 359 Baroque special effects in, 353-54 cinematic scripted space and, 355 as condensed cities, 352, 360-62 franchise capitalism and, 353 L.A.'s Citywalk. as, 356-57, 361, color

plate 7 metropolitan suburbs and, 361-62 natural and artificial in, 357-59 redesigned urban downtowns, 361-62 San Diego's Horton Plaza as, 354,

359-60,376 shopping malls, 352-53, 354, 358 as story; 356

Jerde Partnership, 352, 358, 359. See also Jerde,Jon

Jesuits Counter-Reformation and, 42, 397 mercantile Baroque and, 396, 398 Pozzo's Baroque paintings, 42-43, 48

Jewish Museum (Berlin), 231 johnny Mnemonic (film), 234, 243 Johnson, Samuel, 117, 119 Johnston, Ollie, 254, 255, 308 Jones, Chuck, 271 Jones,Inigo, 67,69-71, 74, 83, 84, 89,228 Jonson, Ben

anti-masques of, 73-75, 83, 90-91 labyrinths and, 114 masques of, 68-71, 72, 73-76, 83

Joyce,James, III judge Dredd (film), 241-42 '}unked up" appearances, 321-22, 326,

348-49 jurassic Park (film), 328

Kafka, Franz, 251,259 Kant, Immanuel, 117, 125 karaoke,76 Keaton, Buster, 219 Keats,John,102

------------------------------494 INDEX

Keil, Roger, 375 Kelly's Heroes (film), 241 Kern, Herma=, 99 Kimble, Ward, 250, 308 kinetoscopes,195,218,401 King, Rodney, 370, 388 KingKong(film),210,221,224,225,275,290 Kircher, Athanasius, 48, 21,324 Kiss of Death (film), 291 Kleist, Heinrich von, 123, 146 Kobe Harbor Fantasy, 243 Kodak Theater (Los Angeles), 4 Koko (Fleischer cartoon character),

256-57 Koko's Earth Control (animated film), 216,

227,260 Koolliaas, Rem, 244, 337 Kovacs, Ernie, 222, 249 Kracaue~Siegfcied,287-88,289,292 Krakatoa (film), 241 Kranztler, Otto, 369 Ku Klux Klan, 259-60 Kubrick, Stanley, 42, 108,200,229-32 Kuhn, Thomas S., 157-58

"L.A. School," 366, 370 La Fontaine,]ean de, 98 La Mettrie,]ulien Offray de, 117, 121, 123,

153 Labyrinth (film), 104-5 The Labyrinth of the World (Comenius),

112-14 Labyrinth of Versailles, 98-99,105 labyrinths, 97-115

amusement parks and, 103-4 Baroque,98-99,101,238 blindness and sensory disintegration in,

108,109-10 casinos and, 103-4,338-41 cinematic, 107-8,230,232,238 cities as, 110-11 . computer games and, 103, 104-5 contemporary media and, 115 crowds/solitude and, 110-11 cybernetic systems and, 327-29

Disneyland and, 103-4 "happy imprisonment" of, 98-99, 338-41 history of, 99-104 Hollywood fix and Baroque, 238 horror and, 108 as human folly, 113, 114-15 Internet and technology, 104-7 Kubrick's, 230, 232 labyrinth effect, 101, 109,338-41 literary, 108-10 madness and, 111-12 medieval,100-101 optical illusions and disintegration of

self, 112-14 Piranesi's Carceri, 101-3 politicsand,98-99,105,115,238 recent evolution of, 104-5 revelation and pilgrimage of, 100-101 and scripted spaces of ElectrOnic

Barqque, 327-29 slot machines and, 338-41 social rank and, 98-99, 105 types of, 99-100 warlord capitalism and, 104-7

Lacan,]acques, 64,109,123 Laemmle, Carl, 295 Lang,Fritz,218,219,290 The Language of New Media (Manovich), 131 large-studio cinematic effects, 400, 402.

See also cinematic special effects Las Vegas, 330-51

architainrnent and, 4, 343 as Baroque city; 4 child-friendly, 332 condensed cities and, 296, 342, 343-47,

360 contradictions in, 347-48 crime in, 327 Disneyland comparisons, 310, 333-34 Electronic Baroque and, 330-51 global entertainment culture and, 331,

333-38, 344, 345 immersion and, 341-42, 350-51 Los Angeles and, 330-31, 333-34, 373 masques and, 77

INDEX 495

New York in, 286, 296, 306, 336, 343-44, 345-48,373, colorplate 8

asscriptedspace,333~38

slot machines and labyrinth effect, 338-41

the Strip, 333, 337-38, 342, 343, 348, 351

trompe l'oeil and, 63, 350-51 zones of unknowing in, 347-49 See also casinos

late Baroque (1750-1780),116-31,399 automata of, 119-24, 153-54, 400 bourgeois markets and emerging

entertainment culture, 118, 124, 125-26

early'industrial economy and, 142 Enlightenment and, 117-18, 121, 123,

125-26, 142 examples of, 116-17 ideological/ aesthetic shift of, 117-18,

124-26 interior spaces and, 124-25 and politics of illusions, 131 subsequent interpretations of/homages

to, 123, 127-30, 153-54,401-2 See also Baroque Imaginary (1780-1840)

Le Geant (balloon), 163-64 Le Notre, Andre, 98 Leaf, Caroline, 263-64 Lean, David, 284 Lefebvre, Henri, 122 Leger, Fernand, 220 Leibniz, Gottfried Wilhelm

on Artifice and Optics, 38, 118 on automata, 119-20 and Neoplatomc forms, 80, 81, 83

Leonardo da Vino, 6, 64 Lessing, Gotthold, 119, 127 Libeskind, Daniel, 231 'ilghtninghand" sketches, 250 Lillie (German comic strip), 366 Lillie doll, 366 limelight, 151 The Lion King (film), 281-82 El Lissitzky; 34

literature and book as Baroque computer, 12, 16,

34-35 labyrinths in, 108-10 special effects as, 12-13 theatrical special effects in, 27-29 See also science fiction

Locke,John, 80,118 Loewy; Raymond, 198 London

and armchair tourism, 284-85 as labyrinth, 102,111, 183 as panorama, 181-83,184, 186-87

London: A Pilgrimage (Jerrold and Dore), 284

Loos, Adolph, 127,367 Lord's Masque (Campion), 84 Los Angeles

amusement parks of, 175-76 ecological destruction of, 317, 373 and exploitation of disaster fears, 261-62 false memories and, 368-70 freeway system of, 197,301 "global," 363-76 global entertainment culture and, 331,

337 The Grove, 201-3, 337, 374 illustrations, 207, 301, 302, 306 internationalization of, 370-75 Jerde's Citywalkand, 356-57 Las Vegas and, 330-31, 333-34, 373 metropolitanized suburbs and, 371-74 Ozand,173-74 trompe l'oeil climate of, 4, 219, 294 urban planning and, 323 See also Disneyland (Anaheim)

Los Angeles Olympics (1984), 359 The Lost World (film), 221, 275, 402 Louis XIV; 32, 62,98, 398-99 Loutherbourg, PhilipeJacques (James) de,

145 Lovejoy, A. 0., 85 Love's Cruelty (Shirley), 83 Lucas,George,225,236,239,282 Luddites, 151-52

il I

I

496 INDEX

Ludwig of Bavaria, King, 128, 146 Luna Park (Coney Island), 183, 195,314,

402 Luxor (Las Vegas), 3, 296, 336 Lynch, David, 310

Mabuse (film), 219 Maciarello, Nicola, 60 MadMaxfilms, 159,288 Mafia: City of Lost Heaven (computer game),

286,296 magiclanterns, 58-59, 137, 144, 147, 152,

283,400 Magritte, Rene, 12 Main Streets, Disney and American,

309-10,318 Man as the Machine (La Mettrie), 123 Man Ray, 220 Manhattan. See New York Mann's Chinese Theater (Los Angeles), 4 Manovich, Lev; 131 Mantegna, Andrea, 8, 12 Maravall,jose,52,111 Marin, Louis, 104 Marquez, pabriel Garcia, 111 MarxBrothers, 76 Mary Queen of Scots (peepshow), 213 The Mask (film), 269-70, 277-78, 280, 281 Maslin,janet, 280 Masque of Blacknesse (Jonson), 68, 72, 86-87 The Masque of Flowers (Beaumont), 69 masques, 67-96

agitprop and, 77-79, 92-96 as alternative to drama, 71-72 animated film and, 259, 274-75 anti-masque, 68,73-79,89-96 audiences I spectators and, 89-90 Baroque Artifice and, 30, 38, 73 carnivals and street theater, 73-75,90-91 class hierarchies and, 75-77, 79-82,

89-91 contemporary anti-masque, 76-77,

91-96 contemporary media and politics and,

78-79,92-96

courtly, 68-76, 83-85, 86-87 crowds and street scenes, 74-76, 90-91 dance and, 83-85 fireworks and, 91 Great Chain of Being and

Neoplatonism, 80-86 Italian, 67 jonesand,67,69-71,74,83,84,89,228 jonson's anti-masques, 73-75, 83, 90-91 jonson's Hymenaei, 68-71, 72, 82 jonson's Masque of Blacknesse, 68, 72,

86-87 noise and settings of, 73-75, 89-92 proscenia and, 30,87-89 state power and, 72, 83-85 urban uprisings and, 91 visible I invisible in, 89 and war images, 86-88

matrices;' 403. See also cybernetics The Matrix (film), 112,234-35,288,380,

392 mattes, movie, 216-19, 221, 224

composites and, 216-18 early fix crafts and, 275-76 glass shots, 216 mirror, 216, 218, 401 optical printing, 217-19, 224 rear projection, 218 "self-matting," 224 traveling, 217, 218, 224 trompe l'oeil and, 218-19

Max Payne (computer game), 286 Mazarin, Cardinal, 37 McCay, Wins or, 250, 275 McLuhan, Marshall, 113,383-84 Mead,Syd,242-44,245 Mean Streets (computer game), 286 Mean Streets (film), 293 media,global,15,379-93,398,400

cable news, 13,93-95,245,387-88,389, 390

capitalism and, 391-92, 400 collective memory and, 403 conservatism of, 78-79, 92-96, 238-40,

382-84,387-92

a

---INDEX 497

crisis of meaning and, 383-84 Electronic Baroque and, 235, 379-93 feedback systems and, 379-80 globalL.A. and, 370 Hollywood fix and, 233-34, 237, 238-40 institutionalization of agitprop by;

78-79,93-96 Kubrick's HAL and, 233 labyrinths as political grammar in, 115 as masque, 93-96 media blur and political blur, 233-34, 398 post-9/11 illusionism, 385-86, 392 and presidential election of 2000,93,

381-92 simulation tools I scenarios used by;

380-81 special-effects aliens and, 379-80 and trauma as entertainment, 392 See also television

11elies, (;eorges, 170,213-14,215,224,274, 275

memento mori Baroque Artifice and, 39 Disney and, 391 on Hoogstraaten's cameras, 58 ]erde's Citywalkand, 357 urban, and early cinema, 215

memory I memories cartoon metamorphosis and traced,

257-60 condensed cities and public, 345-47 false memories and forgetring, 368-70 global tourism and, 201, 294-95, 403 memento mori, 39, 58, 215, 357, 391 publici collective, 345-47,403 world's fairs and, 199-201,203

11endoza,Alvaro,53 mercantilism, Baroque, 145-46, 395-97,

398-99 11erlin,]ohn]oseph, 128 merry-go-rounds, 402 11essmer, Otto, 250 Metamorphosis (Kafka), 251, 259 Metropolis (film), 118,218,219,242,284,

290,402

metropolitan suburbs, 403 "globalL.A." and, 371-74 global tourism and, 371-74, 376-77 ]erde cities as, 361-62 Las Vegas/Los Angeles and, 333-34

11etternich, Prince, 155 11etz, Christian, 32 11exico City; 367, 374 11(;11 (;rand (Las Vegas), 296, 332, 336,

344,346 11idway Plaisances, 195,314 Mighty Joe Young (film), 225 "military-industrial complex," 36, 334 11iller, Frank, 285 11ilton,]ohn, 55, 86, 142,221 miniatures

animated action films and, 275-76 Baroque optics and forced perspective,

57-58,342,344 camera, 57-58 condensed cities and, 296, 342, 343-47,

352,360 cuckoo clocks and Baroque mechanics,

171-72 Disney attractions and nostalgic, 308-9 movie fix crafts and, 275-76 Perspective Awry and, 57-58 as prosthetic extensions of the body; 403

Minority Report (film), 102 11irage Hotel (Las Vegas), 4, 336 mirror mattes, 216, 218, 401 mirrors,216,218,395,401, 402 The Miseries of War (Cal!ot), 74 Moby Dick (11elville), 111 11odernism, 400

Baroque theatrical effects and, 31 Electronic Baroque and, 244 kitchen appliances and the everyday; 244 Kubrick's 2001 and, 229.,.30 modernist special effects, 191-203,244 space and, 193-94 world's fairs and, 191-203

"moments of wonder," 12,32,42-43,399 11onk's Parlour, The, 26 110nt Saint 11ichel, 311

:1 I,

I,

498 INDEX

montage of attractions, 78 Monument to the Third International (Tatlin),

402 morphingand animation, 250-51, 252-54,

258-59 as allegory, 268 political message of, 268 software programs and techniques of,

268 Morph's Outpost on the Digital Frontier

(magazine),268 Moses, Robert, 198 Motion Picture Photography (Gregory), 223 Mount Vesuvius, 116 movable books, 58, 198,401 Mozart, Wolf gang Amadeus, 35-36 MTV and music videos, 267 mummings, 73-74 The Mummy Returns (film), 161 Murdoch, Rupert, 93, 364, 387, 388 Museum of Jurassic Technology (Los

Angeles),324 museums

Baroque special effects and, 128,401 industrial nation-state and, 193 of Las Vegas, 337-38 as scripted spaces, 193,324

Musil, Robert, III mutable space, 375-76 Mysterious Island (film), 209 The Mystery of Edwin Draad (Dickens), 284

~adar,Felix, 163-65 The Naked City (film), 291 ~apoleon Bonaparte, 120 ~ ational Marionette Theater of Prague, 35 ~ATO consumerism, 334-35, 365-66 Natural Born Killers (film), 246 ~eapolitan nativity scenes, 60 ~elson,Jim, 357 neo-feu~sm,14,237-38,239,397,399,

405 neo-mercanrilism, 404 ~eoplatonism

Baroque architectural effects and, 80

Baroque masques and Great Chain of Being, 80-86

contemporary revival of, 85-86 late Baroque, 118 paganism and popular, 81-82 painted dome ceilings and, 41 Perspective Awry and, 53

~erval, Gerard de, 187 Neue Sachlichkeit ("new object-ness"), 78 ~eumann, Balthasar, 61-63, 386 ~euschwanstein (castle), 305 ~ewYork

as cinematic sim-city, 289-92, 296-97 in computer games/ graphics, 296 contemporary imago of, 289-90, 291 early filmic obsession with

themicalized,290-91 Fleischer cartoons and allusions to,

257-59 in L.A., 290, 292-93 in Las Vegas, 286, 296, 306, 336, 343-44,

345--48,373, colorplate 8 nOirimages, 291 in Orlando, 296 world's fairs, 140, 196,198,203,316

~ewYork/~ewYork(LasVegas), 286, 296, 306,336,343--44,345--47,348,373, color plate 8

~ew York's World's Fair (1939), 196,316 ~ew York's World's Fair (1964), 198,203 ~ewcomen, Thomas, 153 ~ewron, Isaac, 118, 124 ~iceron,Jean-Fran~ois, 64-65 ~ietzsche, Friedrich, 12, 127 A Night at the Opera (film), 76 Night Watch (Rembrandt), 243 Nighthawks (Hopper), 242 The Nightmare (Fuseli), 146 Nightmare Alley (Gresham), 18 Nightshade (computer game), 286 ~ixon, Richard, 94, 95-96 noblesse oblige, 98-99 ~odier, Charles, III noir aesthetic, 286-87,291

Blade Runner and, 242

cinematic sim-cities and, 286-89, 291, 292

film grammar and, 224-25 noir Disney; 309-20 reactionary values and, 288 social realism and, 286-87 See also Disneyland (Anaheim)

noir crime fiction, 111, 288 "noir naifs," 349-50 North, Oliver, 391 Nosferatu (film), 219, 377 The Nutty Professor (film), 278

Oath of the Horatii (David), 146 O'Brien, Willis, 219-20, 221, 225, 226, 275 "Ode on a Grecian Urn" (Keats), 102 Odilon, Redon, 164 Odyssey (video-based slot machine), 339 Oliver Twist (film), 284 Operating Manual for Spaceship Earth

(Fuller), 240 optics. See Baroque optics Orfeo (play), 29 Orgel, Steven, 71-72 orgies, 42, 77 ornamentation, 127, 147, 288 The Orphan of China (Voltaire), 117 Otis elevators, 402 outsidelinside, 30, 87-89,124-25,396,

403. See also proscenia; publici private

Overbury; Sir Thomas, 69 Owen, Robert, 153 Oz, 173-79,400

amusement parks and, 175-76 Baroque Imaginary and, 159, 175 Baroque optics and, 176 color and, 178 critique of capitalism and greed, 177 industrialism and, 174-75, 177 L.A. as Emerald City; 173-74, 175-76 light and, 178-79 as misreading of Baroque tradition,

174-77 The WlZard of Oz (film), 81, 173, 178

INDEX

paganism and popular Neoplatonism, 81-82

Painting with Light (Alton), 292 Palladio, Andrea, 81 Palm Pilots, 339, 341, 403

499

The Pandora Detective (computer game), 286 Panini, Francesco, 22, colorplate 1 Panorama of the Mississippi River

(Pomerade), 184, 188 panoramas of Electronic Baroque, 402

blank space as, 237-38 Disney attractions and, 308 Kubrick.'s 2001 and, 230, 232, 237-38

panoramas of nineteenth century, 180-90,399

as anamorphotic, 399. Artifice and the natural combined in,

184-85 cinematic, 180-81 collapse of space in, 47, 184-85 comparisons with Baroque

immersion! Artifice, 46-47, 49, 184-85

Dufour's wallpaper, 129-30 immersion and, 46-47, 49,184-85 and industrial machinery of modern

city; 183-85 London as, 181-83, 184, 186-87 Modernist special effects and, 181,

182-85 multiple perspective and, 59 and paradox of the modern city; 184 politics and, 47, 185 sound effects and, 183-84 as Victorian armchair tourism, 180, 185,

189,283-84 papier-mache, 128 Paradise Lost (Milton), 86, 221 Paris Exposition of 1900, 191,283-84 Paris Opera, 137 Paris Qui Dort (film), 220 parterre (Pit of the theater), 91-92 Pathe, Charles, 215 Paul, RobertW, 215 Paul and Virginie (Bernardin), 130

~I

I

'I

'I ! ~

"I I

500 INDEX

Paysan de Paris (Aragon), 186 Paz, Octavio, 111 Peacock,John,89 peep shows, 57-58, 59, 213, 401 . performance theater, 76 Perrault, Charles, 98, 276 perspective, 395

cinematic, 59-61 multiple and fixed-point, 59-61 See also perspective, Baroque

perspective, Baroque, 395 anamorphosis and, 64-65 Baroque politics and, 52-54 domed ceilings and, 40-50, 56-57, 59,

62-63 early modern state and, 52-54, 395,

396-97 early pioneers of, 5-6, 51-53 establishment of, 54-55 framing and, 57-59 immersion tricks of, 56-59, 62-63 magic lanterns, 58-59 mathematics and, 51-52, 54 metaphor of, 55-56 miniature cameras and the camera eye,

57-58 moral philosophy and, 55-56 multiple and fixed-point, 59-61 as Neoplatonic, 53 painting and, 47-48, 56-57, 62-63 Perspective Awry, 5-6, 51-66, 395 politics and, 8, 52-54, 397 rules of, 54 trompe l'oeil, 59, 61-63 war and, 52 See also immersion

Perspective Awry, Baroque, 5-6, 51-66, 395 Baroque politics and, 52-54 domed ceilings, 56-57 framing, 57-59 _ immersion tricks of, 56-59, 62-63 magiclanterns, 58-59 miniature cameras and the camera eye,

57-58 See also perspective, Baroque

Philadelphia Exposition of 1876 (Centennial Exposition), 185, 195-96

Philippoteaux, Paul, 189-90 The Philosophy of Composition (Poe), 166-67 photography, 400

Baroque perspective and, 58-59 empty frames and architectural, 325 trick, 221-22, 223-24 See also cinematic special effects; mattes,

movie Piazza Farnese (Rome), 116 _ Picadilly Square (London), 374 Pinocchio (film), 316, 317 Piranesi, Giovanni Battista, 101-4,

143 Pirates of the Caribbean, 308, 351 Piscator, Erwin, 78 The Pit and the Pendulum (Poe), 17l Pius VI, Pope, 116 Le P!i (The Fold) (Deleuze), 114 Pliny; 99 Plotinus, 80 Poe, Edgar Ailan, 12, 123, 146, 161, 164,

165,166-7l,278 Pogany; Willy; 314 politics and special effects, 5, 8-10,13-15

agitprop,77-79,92-96 anti-masques, 74-79, 89-91 Baroque class hierarchies, 75-77, 79-82,

89-91 Baroque Imaginary and aristocratic

liberalism, 154-55 Baroque mercantilism and, 395-96,

398-99 Baroque perspective and, 8, 52-54 Baroque theatrical effects and, 32-33,

36-37 class and, 75-77, 79-82, 89-91,98-99,

105,123-24,322,326-27,364,371 condensed cities, 345 consumer-built environments and

control, 322, 326-27 early modern state and, 32-33, 36-37,

50,52-54,72,83-85,397 future anamorphosis and, 65-66

a

INDEX 501

global economy and new global cities, 334-35,364,365-66,371,374-75

global media and Hollywood fix, 237, 238-4.0

global media conservatism, 78-79, 92-96,238-4.0,382-84,387-92

GreatChain of Being and Neoplatonism, 8.0-86

labyrinths and, 98-99, 1.05, 115,238 late Baroque and politics of illusions, 131 masques,72,74-88,89-91,92-96 military-industrial complex and, 36, 334 morphing and, 268 NATO consumer economy and, 334-35,

365-66 neo-feudalism and, 14, 237-38, 239-4.0,

397,4.05 nineteenth century panoramas and, 47,

185 noir aesthetic and social realism, 286-87 and panoramic blank space, 237-38 and paradoxes of global imperialism,

194-95 Perspective Awry and, 52-54 Potemkin villages, 131 theatricalization of terror, 14, 36,261-62 war images, 36-37, 86-88 world's fairs and, 194-96

Pomerade, Leon, 184, 188 poststructural theory, French, 233 Potemkin Villages, 131 Pozzo, FraAndrea, 5,42-43,45,47-48,64 Pre-Raphaelites, 151 presidential election of 2.0.0.0,93,381-92 Pritzel, Lotte, 266 privatization. See outside/inside;

public/private proscenia

Disney berms and, 3.08 masquesand,3D,87-89 modern animation and, 249

prosthetic extensions of the body, 112-13,227-28,4.03

Protestant churches and Baroque Artifice, 42,48-49

Proust, Marcel, 12 Psycho (film), 213 Ptolemaic universe, 48 public/private, 395-98, 399, 4.01, 4.03-4 public realm, 396, 4.04. See also global

entertainment and consumer culture Puebla, Mexico, 347 puppets, 4.01

agitprop and, 78 animation and, 266-68 as Baroque automata, 12.0,252 of Baroque Imaginary, 145, 159 stop-motion puppetry, 266-68

Pynchon, Thomas, III

quadratura painting, 5, 35, 41, 49,61 Quay Brothers, 31, 65,251,264-67,281

radio, 4.0.0,4.03 Ramona Oackson), 173 Raphael, 8.0, 81 Raspe, Rudolf Erich, 118 raves, 76 rear projection, 218, 4.01 Rebel Without a Cause (film), 295 "recreations d' artifices" 38-39 Red Alert (computer game), 97 Red Hot Riding Hood (animated film), 269,

27.0,277 Rembrandt van Rijn, 243 Renaissance, 16,5.0,395 Reno, Nevada, 322,349 Republican Party, 93, 96, 382, 388,

392 Reservoir Dogs (film), 293 Ricci, Matteo, 48, 51-53 Richelieu, Cardinal, 37, 9.0 Richter, Hans, 22.0

rides death imagery and, 312, 323-24 and f/ x film-audience experiences,

28.0-81 as remaining industrial modernist

special effect, 2.02-3 See also roller coasters

502 INDEX

Rilke, Rainer Maria, 266 Rivaz, Isaac de, 149 The Road to Destiny (film), 208 Robida, Albert, 283 robots

Kubrick's HAL, 230, 232-35 as late Baroque automata, 122 since Kubrick's 2001, 240-41

rock concerts, 92 The Rocky Horror Picture Show, 76 roller coasters

Coney Island, 106,202-3,314,323-24, 402

simulated hazards and, 323-24, 402 Romanticism

Gothic and, 146 late Baroque automata and, 121, 123 and late eighteenth century resistance to

manufacturing, 151 Rosilena (opera), 38 Rossi, Aldo, 359 Rousseau, Henri, 164 Rousseau,Jean-Jacques,117 Rove, Karl, 385 ruined special effects, 2-3, 18 Rybczynski, Zbigniew, 217, 281

Sabbatini, Nicola, 28-29, 144-45 Saint Elia, Antonio, 193 Saint-Simon, Claude Henri, 142 salon arts, 118, 125 Sanesi, Roberto, 102 Santa Mario del Popolo (Rome), 39 Sa6 Paulo, 367, 374 Sapphire (Las Vegas), 332 Sarraute,Nathalie,12 Saul, Sanders, 398 Saving Private Ryan (film), 226 Schlemmer, Oskar, 78 Schulz,Bruno, 111,251,264-65 Schwarzenegger, Arnold, 339-40 science fiction

balloon-travel and, 162-66, 167-68 Baroque Imaginary and, 162-71 Baroque scientists and, 142-43, 147, 158

birth of, 142-43, 162-7l book cover panoramas of, 190 hoaxes and, 161-62, 167, 170, 179 Poe and, 161, 165-71 scientific nostalgia and, 142-43, 147-48,

158-59 scientists, Baroque, 142-43, 147, 158 Sdntillator, The, 140

Scott, Ridley, 239, 242-43, 245 scripted spaces, 7-8, 10-12

defining, 10-12 "moments of wonder" in, 12, 32, 42-43 See also consumer-built environments of

Electronic Baroque; labyrinths Selkirk, Henry, 12, 170 Serlio, Sebastiano, 5 Seven Miles Panorama (Banvard), 189 Seven Minutes (Klein), 248 Seventh Guest (computer game), 97 Shakespeare,VVilliam,74,82,112-13 Shanghai, 367, 374 Shearman,John,80 Shelley, Mary, 118, 128, 155,278 Shelley, Percy Bysshe, III The Shining (film), 108,232 Shirley,James,83 shopping malls

Baroque domes in, 324-25 Baroque special effects in, 324-25,

353-54 as cities, 352-53, 361, 374 class politics and, 327 early arcades, 186, 193 early enclosed, 334 The Grove and nostalgia, 201-2 immersion and navigation in, 325-26 internationalization and; 367 ironic dark side of, 311 asJerde cities, 352-54 mettopolitan suburbs and, 361, 374 mutable space and, 376 organicism of, 358 outdoorthemed,337 as scripted spaces, 322, 324-26, 352-53,

354

a

INDEX 503

shopping nostalgia, 201-2 surveillance at, 322, 326

The Sign. of the Four (Doyle), 285 silent films, 219-22, 227 Silent Running (film), 240-41 SimCity (computer game), 97, 98 simulation

media tools of, 380-81 political use of, 381 roller coasters and simulated hazards,

323-24,402 sCripted spaces and, 324 of self, as movie effect, 281 See also cities, cinematic

Singer, Ben, 214 Sintes, Giovanni Battisti, 25 Sistine Chapel, 22 Sixtus V, Pope, 49 skyscrapers, 182-83, 190, 193-94,290,

345-47,402 slot machines, 338-41 Small Fry (animated film), 260 Smart II (CASS system), 380 smartrooms/houses,122 snow globes, 346-47 Snow White (film), 178 Soane,John, 102, 128,324 social imaginary and the "public realm,"

404. See also global economy and new global cities; global entertainment and consumer culture

Soja, Edward, 370, 371 Something Wicked This Way Comes

(Bradbury),315 Spacequest: A Future Casino (CGI), 243 special effects, defining, 8, 13,221,223 spectacles, Baroque, 36-37,112-14,176,

275,395,396,398 Speed (film), 277 Spenser, Edmund, 82 Spiderman (film), 278, 286, 296 Spielberg, Steven, 102, 236, 239 Spinoza,Baruch,80 spiritus mundi, 79-80, 82 The Spoilers (film), 208

St. Bartholomew's Fair, 74 St. Peter's Basilica, 23, colorplate 1 St. Paul's Cathedral (Wren), 49 stadium seating in movie theaters, 226-27,

231 Stalling, Carl, 269-70 Star Trek (film), 242-43 Star Wars: The Phantom Menace (film), 282 Star Wars (film), 159,225,235,239,270,271 Starbucks,374 Starevich, Ladislas, 220, 266, 281 steam-driven printing presses, 148,

400 steam power, 144, 148-56, 189,400 steampunk, 142-43, 156, 159 Stephenson, George, 149, 151 Stephenson, Rowland, 181 stereographic photo cards, 138 stereoptic projection, 60, 402-3 Sterne, Lawrence, 119 Stevenson, Robert Louis, 278 still-life paintings (naturemorte), 39 The Sting (film), 293 stop-motion effects, 225, 266-68, 276 Strange Days (film), 243 Der Strasse (film), 287, 290-91, 293 Stratosphere (Las Vegas), 332 streamlining, 196-97, 198 The Street (animated film), 263-64 The Street of Crocodiles (animated film), 251,

264-66,267 The Street of Crocodiles (Schulz), 251, 264-65 street theater, 73-75 Sullivan, Louis, 195,345 Sunset Boulevard (Los Angeles), 363 Sunshine Makers (cartoon), 311 ' Surrealists, 32, 123,220 surveillance, 236, 261

in casinos, 349-50 at Disneyland, 319-20 at shopping malls, 322, 326

Svankmejer,Jan, 31, 262-63, 266, 267, 281 Swift,Jonathan, 117, 119, 124 Swing Riots (1830),151-52 Switchback (roller coaster), 202-3, 323-24

504

Tabu Lounge (Las Vegas), 332 Tafuri,11anfredo, 103, 107 Tale of a Tub (Jonson), 70 talk shows, 79, 391 Tango (film), 217-18 Tashlin, Frank, 269 Tarlin,\nadllrll~ 193-94,402 Taylor,John,87 Teatro Olimpico, 67 technology and labyrinths, 104-7 telegraphs, 400 telephones, 196,400, 403 television

animation and, 277 emergence of industry; 334 global news media and conservative

disinformation, 93-95, 386, 387-89, 390

memorabilia and casino slot machines, 339-40

presidential election of 2000 and, 93, 386,387-89,390-91

as prosthetic extension of the body, 403

simulation tools and political power of, 381

teleprompters and, 385, 386 time and immersive immediacy of, 387 See also media, global

The Tempest (Shakespeare), 82 Ten Commandments (film), 295 Terminator 2 (film), 250 Tesla, Nikola, 175, 178-79 Theater of the Oppressed (Brazil), 78 "Theaters of Heresy" (Inquisition), 45 Them (film), 293 Things to Come (film), 290 Third International, 77 Thirty Years War (1618-1648),14,56,65,

87,95,115,176,390 Thomas, Frank., 254, 255 3-D cinema

cartoon metamorphosis and, 256 Disney and, 276, 313 live-action films and animation, 270

INDEX

panoramic immersion of, 49, 60 trompe l' oell and, 276

Thriller (11ichaelJackson), 293 Tieck, Johann Ludwig, 170 Tiepolo, Giovanni Battista, 61, colorplate 2 Tik-Tok ofOz (Baum), 176-77, 178 Times Square (New York), 286, 374 Titanic (film), 107 Tolkien,J R. R., 85,159,176,237 Tom andJerry (cartoon), 254 Tomorrowland,302 top-down Baroque ceilings, 403. See also

domes, Baroque painted topsy turvy. See Perspective Awry, Baroque Toral Tora! Tora! (film), 241 Torelli, Giacomo, 29-30, 37, 38, 70,144-45 Total Recall (film), 288 tourism

armchair, 180, 185,189, 198,284-85,400 collective memory and, 201, 294-95, 403 dark side of I ambivalence of, 311 Electronic Baroque and, 336 global, 201, 336, 371-74, 376-77 metropolitanized suburbs and, 371-74,

376-77 movies and, 284-85, 294-95 nineteenth century panoramas as, 180,

185,189,283-84,284 toys

as Baroque automata, 120, 121-22,400 Baroque Imaginary and, 144, 152, 156 machinery of late eighteenth century as,

143-44, 148 Tracy, Douna, 271, 272, 278, 280 transnational media. See media, global transportation systems, 196-97 Treasure Island (Las Vegas), 332, 336, 341,

344,348 Trevithick, Richard, 149 Tri-11 Inc., 345-46 TrizecHahn mall (Los Angeles), 297 trompel'oeil, 399, 401, 402-3

animation and, 251, 253, 262 Baroque, 36, 41, 59, 61-63, 128-29,147 as Baroque ornamentation, 147

_l

Baroque painted ceilings and, 41, 62-63

Baroque perspective and, 59, 61-63 Baroque state and, 36 cartoon metamorphosis and, 251, 253,

262 casino architecture and, 350-51 cinematic special effects and, 218-19,

402-3 kitsch homages to Baroque, 128-29 Las Vegas, 63, 350-51 Los Angeles, 4, 219, 294 movie mattes and, 218-19 multiple perspective and, 59 post-9/ 11 global media illusionism as,

386 as three acts in a few seconds, 63 3-D cinema and, 276

TRON (film), 245-46 True Lies (film), 282 The Truman Show (film), 298 Trumbull, Douglas, 240-41 Tuileries theater (Paris), 30 Turk, The, 26 Twain,11ark, 159, 172 20,000 Leagues Under the Sea (Verne),

199 2001: A Space Odyssey (film), 16, 200, 212,

221,225,229-34,237-38,240 blankness / emptiness and, 194, 229-31,

237-38 HAL and, 230, 232-35 as launching the Electronic Baroque,

229-30,232

UFA Studios (Berlin), 219, 244, 295 Universal Orlando, 307 Universal Tours, 295, 313 U.S. Supreme Court, 388 utopian socialism, 152

Van Beuren Studio, 311 Van Brugh, Sir]ohn, 119 Van Kempelen and His Discovery (Poe), 166 Vaucanson,]acques de, 120, 124,309

INDEX

vaudeville amusement parks and, 314 masque and, 76

Vaughan, Henry, 86 Veblen, Thorstein, 129 Venice Panorama, 135 Ventura Boulevard (Los Angeles), 372 Verne,]ules,142,164-66,216,400

Disney and, 199,201 Nadar's balloon and, 164-65 Poe and, 165

Versailles palace, 98-99, 105,398 Vertigo (film), 292 Vertov, Dziga, 265 Victory Overthe Sun (opera), 78 Vidier, Anthony, III Villier de L'Isle, Adam, 175 Vrrgilio, 58 Vrrilio, Paul, 289 Volcano (film), 294 Voltaire, 117, 119 VonKempelen, Wolfgang, 120, 161 von Kleist, Heinrich, 131 von Knauss, Friedrich, 120

505

A Voyage to the Moon (Cyrano de Bergerac), 27

voyeurism; 58 VR.5 (television), 105

Wagne~Richard, 194,230 wallpape~128-30

Walpole, Horace, 143 war machines, 36,51-52,52,86-88,

241-42,334,404 War of the Worlds (Wells), 175 The War of the Worlds (film), 212 warlord capitalism, 404-5

global media and, 391-92 Internet and, 104-7 See also capitalism

Warner's chase cartoons, 270 Watt,]ames, 153, 154 Watts, Steven, 307 "weenies," 307 Wells, H. G., 175,216,400

506 INDEX

VVertheioa,11argaret,86 VVestinghouse, George, 178-79 "White, Charles, 341 Who Fram~d Roger Rabbit (film), 270 The Wild Bunch (film), 241 VVilde, Oscar, 102 Vlilhelm Meister's Apprenticeship (Goethe),

35 .

VVilitsky, Toma,sz, 35 VVilliams, Ami~, 351 VVilliams, Rosalind, 192 Willow (film), 250 The Winds of War (television), 293 The Wizard of Oz (film), 81,173,178. See

also Oz VVolfflin, Heinrich, 127 VVoolf, Virginia, 12 VVordsvvorth,VVilliam, 146, 182, 186-87 VVorld Trade Center, 4, 286, 297 world's fairs, 191-:203,400

as armchair tourism, 198 blurring of past and future in, 199-201,

203 collective memory and, 201 and consumer entertainment culture,

192, 195 Disney's EPCOT and, 199-200

Futurama exhibit (1939),196-98,199,

316 and the industrial, 192-96 machines and, 191-93, 195, 196,

203 modernist space and, 193-94, 196 panoramas and, 183 and paradoxes of global ioaperialism,

194-95 politics and, 194-96 rides and, 202-3 souvenirs of, 198

VVren, Christopher, 49 VVright, Frank Lloyd, 243 VViirzburg, Prince Bishop of, 61-62 vvynn,Steve, 4, 331, 336, 337, 345, 348

X-Files (television), 119 X-Men (film), 227-28, 253, 278, 392 X-Urbanism (Gandelsonas), 375 Xue Fucheng, 188

Yamashita, AIan, 243

Zeppelin, calor plate 3 Zizek, Slavoj, 64 Zumanity (Las Vegas), 332