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this data, though, concealed the extraordinary vulnerability of the railhead as it pressed forward across a desolate and barren landscape under the ceaseless pressure of a tropical sun. The canvas town of 2,500 inhabitants, complete with station, stores, canteen, post office, telegraph office and a reserve of 10,000 gallons of water, depended entirely upon a single railway track to survive and function. Every morning a

in Engines for empire
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Paul Greenhalgh

, Belgium, Norway, Spain, Monaco and Sweden Paris Exposition Universelle 1900 12 Art nouveau style Metropolitain Railway Station Entrance Paris Exposition Universelle 1900

in Ephemeral vistas

by Austerlitz (or occasionally only by the narrator) and whose appearance – and often disappearance – is described in metaphors based explicitly on photographic processes and technologies. Just as Sebald is interested in ‘the non-static, ontological moments of photography’ (Patt 2007: 72), so too he focuses on the experience of moments at which memories both become and recede.2 Most prominent among the places where these momentary images are revealed are the book’s four major railway stations. It is in Sebald’s metaphoric darkrooms, dark zones of transition between

in A literature of restitution
Carriers in the canal age

prioritised. The great railway amalgamations of the 1840s heralded a major change in policy. In 1847, the London and North Western Railway grouping shut out carriers on their lines. The Manchester, Sheffield and Lincolnshire Railway and the Lancashire and Yorkshire Railway soon followed.106 However, carriers were not entirely dispensed with. The railway companies, taking advantage of the carrying companies’ customers, warehouses and carts, employed them as railway agents, responsible for soliciting traffic (at fixed railway rates), receiving goods at stations, packing them

in Transport and the industrial city
Handling urban overflows

handled as customers rather than inmates, state subjects, or patients, in competition with other travel corporations and institutions. Situations in which people or goods piled up, crowded places, and congestions, standstills, and jams had to be dealt with and avoided. How were crowds of customers to be handled in transit spaces like the urban railway station? What happened when strangers with different cultural and social backgrounds were confronted with the necessity of dealing with one another? Managing vast numbers of travelers called for new logistics, services

in Overwhelmed by overflows?
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Investigations (1) The credit sequence of Bertolucci’s Strategia del ragno (1970) takes place against brightly coloured, schematic naif images of animals and objects painted by Ligabue. The opening entry into the film is to the make-believe fairyland of the primitive created by the painter. The narrative opens with the arrival of Athos Magnani, the younger, the son of Athos Magnani, the elder, with the same name, at the railway station in the town of Tara. The father is an anti-fascist hero, murdered, so the story goes, by fascists in 1936. Father and son

in Film modernism
Conflict and crisis, 1918–45

, the Administrator, in his office for several hours before he was freed by police. On this occasion, the men seemed determined to stay, establishing placards, tents, and cooking equipment, and raising the Red Flag from one of the veranda posts. Cecil Cook, the Chief Protector of Aboriginals and Chief Medical Officer of the Northern Territory, was both brazen and quick to act. The day after the occupation was established, he marched across the road to seize the flag, returning to the police station with it in hand. Protesters rushed the station and demanded its return

in Governing natives

military centres.38 This made them also the terminal stations of the ‘general interest’ railway lines established by the 1855 Railway Law. By contrast, when it came to the territorial network of the Navy, one observes a strategy of complementarity, a plan to distribute functions among the different ports. In this case, the territorial network of the Navy, well defined since the late eighteenth century, departed ostensibly from all the other networks, which were ultimately related to trade, including the sanitary network. Ports with a first-class DES were thus exempt from

in Mediterranean Quarantines, 1750–1914
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’t know what to do about it.’ 7 He, Frank Raftis (Robert De Niro), is involved in the construction industry, though at what level is never wholly clear, and she, Molly Gilmore (Meryl Streep), is a freelance graphic designer. The film opens (unsurprisingly) on a railway platform, where Molly is waiting for her train, then boards it just as Frank comes racing in and sits behind her. After disembarking, they are later seen at the station of their destination talking into adjacent public telephones, later buying Christmas presents for their spouses, and then on escalators

in The never-ending Brief Encounter

technological change, but was something impelled by the ‘age of reason itself ’.12 After the Napoleonic wars ended, the British mechanical telegraph system lapsed, but the French one continued, funded by the Ministry of the Interior and used for policing purposes. The electric telegraph was developed in the UK as a key enabling technology for railway signalling and, by the early 1840s, the rudimentary railway network which covered England was accompanied by both the railway companies’ own telegraph systems and lines which they leased to other companies for general

in Police control systems in Britain, 1775–1975