Book contents
- Frontmatter
- Contents
- Figures
- Notes on the Contributors
- Introduction
- Part 1a Mapping Cinematic Journeys: Chronotopes of Journeys
- 1 Global Visions: Around-the-World Travel and Visual Culture in Early Modernity
- 2 Brief Encounters: The Railway Station on Film
- 3 Diasporic Dreams and Shattered Desires: Displacement, Identity and Tradition in Heaven on Earth
- 4 Chronotopic Ghosts and Quiet Men: José Luis Guerín’s Innisfree
- 5 Memories, Notebooks, Roads: The Essayistic Journey in Time and Space
- Part 1b Expanding Europe: Interstitial Production and Border-crossing in Eastern European Cinema
- 6 Shadows of Unforgotten Ancestors: Representations of Estonian Mass Deportations of the 1940s in In the Crosswind and Body Memory
- 7 The Holocaust and the Cinematic Landscapes of Postmemory in Lithuania, Hungary and Ukraine
- 8 Hesitant Journeys: Fugitive and Migrant Narratives in the New Romanian Cinema
- 9 Women on the Road: Representing Female Mobility in Contemporary Hungarian–Romanian Co-productions
- Part 2a Form and Narrative in Journey Genres
- 10 The Sense of an Ending: Music, Time and Romance in Before Sunrise
- 11 Moving in Circles: Kinetic Elite and Kinetic Proletariat in ‘End of the World’ Films
- 12 Gothic Journeys: Travel and Transportation in the Films of Terence Fisher
- 13 Transnational Productions and Regional Funding: Bordercrossing, European Locations and the Case of Contemporary Horror
- Part 2b The Politics of the Road Movie
- 14 Colonialism in Latin American Road Movies
- 15 Spaces of Failure: The Gendering of Neoliberal Mobilities in the US Indie Road Movie
- 16 Sic transit: The Serial Killer Road Movie
- Index
Introduction
Published online by Cambridge University Press: 06 May 2021
- Frontmatter
- Contents
- Figures
- Notes on the Contributors
- Introduction
- Part 1a Mapping Cinematic Journeys: Chronotopes of Journeys
- 1 Global Visions: Around-the-World Travel and Visual Culture in Early Modernity
- 2 Brief Encounters: The Railway Station on Film
- 3 Diasporic Dreams and Shattered Desires: Displacement, Identity and Tradition in Heaven on Earth
- 4 Chronotopic Ghosts and Quiet Men: José Luis Guerín’s Innisfree
- 5 Memories, Notebooks, Roads: The Essayistic Journey in Time and Space
- Part 1b Expanding Europe: Interstitial Production and Border-crossing in Eastern European Cinema
- 6 Shadows of Unforgotten Ancestors: Representations of Estonian Mass Deportations of the 1940s in In the Crosswind and Body Memory
- 7 The Holocaust and the Cinematic Landscapes of Postmemory in Lithuania, Hungary and Ukraine
- 8 Hesitant Journeys: Fugitive and Migrant Narratives in the New Romanian Cinema
- 9 Women on the Road: Representing Female Mobility in Contemporary Hungarian–Romanian Co-productions
- Part 2a Form and Narrative in Journey Genres
- 10 The Sense of an Ending: Music, Time and Romance in Before Sunrise
- 11 Moving in Circles: Kinetic Elite and Kinetic Proletariat in ‘End of the World’ Films
- 12 Gothic Journeys: Travel and Transportation in the Films of Terence Fisher
- 13 Transnational Productions and Regional Funding: Bordercrossing, European Locations and the Case of Contemporary Horror
- Part 2b The Politics of the Road Movie
- 14 Colonialism in Latin American Road Movies
- 15 Spaces of Failure: The Gendering of Neoliberal Mobilities in the US Indie Road Movie
- 16 Sic transit: The Serial Killer Road Movie
- Index
Summary
It is necessary to sail, it is not necessary to live. – Plutarch
This book is about journeys. Each of its chapters concerns films that feature some kind of travel, and as a collection they reveal the journey to be less an exotic departure than a persistent presence across cinema, as well as across cultural modernity. Spanning different regions and cultures, they probe the meaning of the journey in connection with notions of belonging, memory and history, in examples that range from pre-cinema to new media and through documentary, fiction and the spaces between. They investigate film's employment of the journey as a motif for something wider, whether as metaphor for self-discovery or encounter, emblem of artistic or social transformation, and evidence of autonomy and progress, or their lack.
A principal critical intervention of the volume is to put into relief the formal and contextual frameworks that relate to purposeful movement, and to how change is symbolised in spatial terms. Rather than claiming comprehensiveness with regard to such a large topic, the book proposes to use the journey as a kind of instrument, to the extent that it inspires both formal openness and narrative purpose, describes the processes through which film circulates and responds creatively to the socio-cultural influences that give our lives significance. Diverse amongst themselves, what each chapter develops are analyses that establish the cinematic journey as inherently multi-dimensional, constituted by representational, thematic, intellectual or contextual concerns but never manifest upon just one of these axes in isolation. In this regard, as well as in its geographical scope and its refusal of binaries between US and world cinema or between genre and art cinema, the collection contributes to an integrating and polycentric approach to film.
Before introducing the individual chapters and sections comprising the book, it may be worth making a brief sketch of the significance of the journey to the study of film. Film itself of course physically moves, rolling through the camera and then the projector that illuminates its chemical imprints on screen.
- Type
- Chapter
- Information
- Journeys on ScreenTheory, Ethics, Aesthetics, pp. 1 - 16Publisher: Edinburgh University PressPrint publication year: 2018