By Dimitris Eleftheriotis
Cinematic Journeys explores the interconnected histories, theories and aesthetics of cellular imaginative and prescient and cinematic circulate. It strains the hyperlinks among particular types of move of/in the body and broader cultural traits that experience traditionally knowledgeable Western sensibilities. It contextualises that family tree with precise research of latest and up to date 'travel movies' in addition to older works.
The e-book investigates how pursuits of exploration, discovery and revelation are activated in particular cinematic narratives of traveling and displacement. Such narratives are analysed with cognizance to the mass inhabitants activities and displacements that shape their referential background.
Cinematic trips additionally examines the ways that traveling impacts movie itself. Case reports specialise in motion pictures as vacationing commodities (with the recognition of Indian movies in Greece within the Nineteen Fifties and 60s as case study); and, via a research of subtitles, at the classification of the 'foreign spectator' (who within the stumble upon with 'foreign' movies strikes throughout cultural borders).
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Extra info for Cinematic Journeys: Film and Movement
This chapter will oﬀer a brief critical survey of some of the influential theoretical traditions, including ‘early’ formulations (Arnheim, Balázs, Bazin and others), the ‘classical paradigm’ (Bordwell, Thompson, Staiger), ‘suture theory’ (Oudart, Dayan, Heath, Bonitzer), the concept of ‘a-cinema’ (Lyotard) and Deleuze’s lengthy investigation of movement and time in cinema. It is a testimony to the hold that nineteenth-century values still have on contemporary sensibilities that such theorisations seem to interface seamlessly with conceptualisations and evaluations of mobile vision discussed in the previous chapter.
533). Schivelbusch, Railway Journey. The relationship between the railway and cinema is most explicitly developed in Lynn Kirby, Parallel Tracks: The Railroad and Silent Cinema (Exeter: University of Exeter Press, 1997). As she outlines in the Introduction, pp. 2–3: ‘As a machine of vision and an instrument for conquering space and time, the train is the mechanical double for the cinema and for transport of the spectator into fiction, fantasy, and dream . . indd 35 8/1/10 12:00:15 36 69. 70. 71.
367. Ibid. p. 219. Charles Darwin, The Voyage of HMS Beagle (London: John Murray, 1890), p. 403. Ibid. pp. 532–8. Ibid. p. 537. Foucault, Order of Things, p. 312. Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, MA, and London: MIT Press, 1991). Ibid. p. 3. ‘At the deepest level of Western knowledge, Marxism introduced no real discontinuity; it found its place without diﬃculty, as a full, quiet, comfortable and, goodness knows, satisfying for a time (its own), within an epistemological field that welcomed it gladly’ (Foucault, Order of Things, p.
Cinematic Journeys: Film and Movement by Dimitris Eleftheriotis