By Sybille Frank, Silke Steets
Analyzing soccer as a cultural perform, this e-book investigates the relationship among the game and its outfitted atmosphere. 4 thematic sections assemble a global multi-disciplinary variety of views with specific specialize in the stadium.
Examples from architectural layout, media reports and archaeology are used whereas learning ads, economics, migration, fandom, neighborhood identities, feelings, gender, and the sociology of house. Texts and case-studies building up this beneficial publication for academics and researchers in sociology, cultural reviews, geography, structure, activity and environment.
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Additional info for Stadium Worlds: Football, Space and the Built Environment
Example text
Only a few ever reach their desired destination which is, according to Banse, no longer a particular European country, but rather the football stadium in general: Only those who play in the stadium can escape the financial dependency on agents, the precarious contracts and everyday racism of the lower divisions. Professional football is therefore a marketplace that produces distinctions along the line of ethnic dissociation, and the transnational space of the football stadium is a space that – by crossing the border – reproduces the national border and distinctions as an institution.
Consequently, by the mid-1990s, all grounds in the top div isions of English and Scottish football were required to be all-seater. The radicalism of Taylor’s report was a product of the depth of the crisis in British football in the late 1980s, but his report was consonant with a wider trend in European football at the time. Following the Heysel disaster in 1985, in which poor facilities played a role, UEFA (Union of European Football Associations) was forced to consider the issue of stadium design.
For others it did actually provide the desired refuge, but it soon became a besieged concentration camp, with many wounded, and precarious hygienic conditions. Although the stadium had suitable media equipment, this was not used at any stage to transmit images or sounds of the terrible events to the wider world. The stadium also hardly appeared ex post in the many cinematic treatments of the conflict. It only takes on a collective meaning as an open-air theatre for the screening of such movies, becoming, for many Rwandan viewers, a cinema- induced site of memory.