Cinematic Journeys

Enhanced descriptions from Syndetics:

Cinematic Journeys explores the interconnected histories, theories and aesthetics of mobile vision and cinematic movement. It traces the links between certain types of movement of/in the frame and broader cultural trends that have historically informed Western sensibilities. It contextualises that genealogy with detailed analysis of contemporary and recent 'travel films' as well as older works.The book investigates how movements of exploration, discovery and revelation are activated in specific cinematic narratives of travelling and displacement. Such narratives are analysed with attention to the mass population movements and displacements that form their referential background.Cinematic Journeys also examines the ways in which travelling affects film itself. Case studies focus on films as travelling commodities (with the popularity of Indian films in Greece in the 1950s and 60s as case study); and, through a study of subtitles, on the category of the 'foreign spectator' (who in the encounter with 'foreign' films moves across cultural borders).Films considered in the book include Sunrise, Slow Motion, Hukkle, Death in Venice, Voyage to Italy, The Motorcycle Diaries, Koktebel, Japón, Blackboards, Ulysses' Gaze, and the work of directors Tony Gatliff and Fatih Akin.

Table of contents provided by Syndetics

• Acknowledgements (p. vii)
• Introduction (p. 1)
• Part I Mobile Vision (p. 5)
• 1 Movement, vision and subjectivity in the nineteenth century (p. 7)
• 1.1 Epistemic objects in flux and mobile observers (p. 7)
• 1.2 Circulations: commodities, arcades, flâneurs and regulation (p. 13)
• 1.3 Popular technologies of vision: museums, exhibitions and panoramas (p. 18)
• 1.4 Impressionism: a different vision? (p. 25)
• 1.5 Subjectivity, vision, movement (p. 29)
• 2 Movement in film studies (p. 37)
• 2.1 The classical paradigm (p. 38)
• 2.2 Suture theory (p. 45)
• 2.3 Lyotard and Deleuze (p. 50)
• 2.4 Slow Motion (p. 56)
• 2.5 Hukkle (p. 61)
• 3 Movements of exploration, discovery, revelation (p. 70)
• 3.1 Exploration, discovery, revelation: cinematic practices and historical sensibilities (p. 70)
• 3.2 Analytics of exploration, discovery, revelation (p. 77)
• 3.3 Certaintyö!Uncertainty: Voyage to Italy (p. 81)
• 3.4 Activityö!Passivity: Death in Venice (p. 88)
• Part II Cinematic Journeys (p. 97)
• 4 Quests (p. 99)
• 4.1 Journeys of exploration, discovery, revelation (p. 99)
• 4.2 Views on the move (p. 104)
• 4.3 The body of the traveller (p. 112)
• 5 Intercepted trajectories (p. 122)
• 5.1 Encounters (p. 122)
• 5.2 Relational movement in Exils (p. 126)
• 5.3 Fatih Akin's converging routes (p. 132)
• 6 Movement beyond the axes (p. 142)
• 6.1 The limits of exploration, discovery, revelation (p. 142)
• 6.2 Ulysses' Gaze: obliterating the subject and object of spatial exploration (p. 145)
• 6.3 Blackboards: journeys of perpetual motion (p. 150)
• Part III Travelling Films (p. 161)
• 7 Films across borders: Indian films in Greece in the 1950s and 1960s (p. 163)
• 7.1 Indian cinema in Greece (p. 164)
• 7.2 Exploring similarities (p. 167)
• 7.3 Critical denial (p. 173)
• 8 Reading subtitles: travelling films meet foreign spectators (p. 178)
• 8.1 'World cinema' and foreign spectators (p. 178)
• 8.2 Subtitles and the cinematic apparatus (p. 180)
• 8.3 Critical and spectatorial positions (p. 186)
• Select Bibliography (p. 194)
• Index (p. 203)