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Steven Peacock
Steven Peacock
Southampton Solent University
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Holding onto Moments in The Age of Innocence
in
Film Studies
This article offers an alternative to the predominant and pervasive theoretical approaches to discussing time in film. It adheres to ordinary language, and moves away from a ‘mapping’ of theoretical models or contextual analysis to concentrate on a films specifics. It considers the particular handling of time in a particular film: The Age of Innocence (Martin Scorsese, 1993). Fixing on specific points of style, the article examines the interplay of time and gesture, and the editing techniques of ellipses and dissolves. Both the article and the film hold their attention on the intricacy and intimacy afforded by moments, as they pass. Both explore how the intensity of a lovers relationship over decades is expressed in fleeting passages of shared time. In doing so, the article advances a vocabulary of criticism to match the rhetoric of the film, to appreciate the works handling of time. Detailed consideration of this achievement allows for a greater understanding of the designs and possibilities of time in cinema.
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‘All the evidence is that Cobargo is slipping’
An ecological approach to rural cinema-going
Author:
This paper considers the impact of extra-filmic elements on the cultural decision-making behaviours of a small rural Australian cinema audience, focusing on the rural New South Wales village of Cobargo in the late 1920s. In considering how why such fragile rural picture show operations either failed or became successful, it is critical to take account of rural geographies, particularly in terms of early road development, and the nature and state of road bridges in flood-prone areas. The paper argues that these elements are part of a broad ecosystemic framework for cultural decision-making which can assist in our interpretation of early newspaper advertising and promotion for picture show programs.
Cinemas in the City
Berlin‘s Public Space in the 1910s and 1920s
Author:
In the early years of the cinema and into the 1910s and 1920s, it was less the film than cinema-going itself that attracted urban publics. In this era, people were enthusiastic about technology and the achievements of modernity; while at the same time they felt anxious about the rapid and radical changes in their social and economic life. In Germany, this contradictory experience was especially harsh and perceptible in the urban metropolis of Berlin. The article demonstrates how within city life, Berlin cinemas – offering the excitement of innovation as well as optimal distraction and entertainment – provided an urban space where, by cinema-going, appeal and uncertainty could be positively reconciled.
Kissing and Killing
A Short History of Brighton on Film
Author:
Over fifty feature films have been made either in or about Brighton and they have all contributed to popular understandings of Brighton‘s history and its character. Collectively, they present the city as a site for extreme emotions and conflicts found within narratives that are always set either on the seafront or at the Royal Pavilion. It can be argued that these Brighton films are not about Brighton at all but instead serve as vehicles for the expression of popular anxieties, concerns and desires. As such, they transcend the specificities of place and history and become projections of what could be described as a national unconscious.