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Brian McFarlane

disruptive trains and stations have been for Laura. The idea of the railway station as a place of meetings and departures has figured in many of the films referred to in this book, especially in Chapter 6 . More so than airports or bus stops, railway stations allow close-ups of those meetings and, especially, departures, after which there is a curious sense of desolation when the person farewelling is left on the empty platform. As Raymond Durgnat wrote of railway stations: ‘From the platform the rails stretch away. Even when the terminal is a

in The never-ending Brief Encounter
Author: Brian McFarlane

Brian McFarlane’s The never-ending Brief Encounter is above all a book intended for those who have seen and never forgotten the famous 1945 film in which two decent, middle-class people meet by chance, unexpectedly fall in love, but in the end acknowledge the claims of others. The book grew out of an article, the writing of which revealed that there was so much more to the after-life of the film than the author had realised. This book examines David Lean’s film in sufficient detail to bring its key situations vividly to life, and to give an understanding of how it reworks Nöel Coward’s somewhat static one-act play to profound effect. It also examines the ways in which the ‘comic relief’ is made to work towards the poignant ending. However, the main purpose of the book is to consider the remarkable after-life the film has given rise to. The most specific examples of this phenomenon are, of course, the appalling film remake with its miscast stars, and the later stage versions – both bearing the original title and attracting well-known players and positive audience and critical response – and an opera! As well, there are films and TV series which have ‘quoted’ the film (usually via black-and-white inserts) as commentary on the action of the film or series. There are many other films that, without direct quotation, seem clearly to be echoing their famous predecessor; for example, in the haunting visual quality of a deserted railway platform.

John M. MacKenzie

bourgeois spirit was most effectively illustrated by the manner in which so many significant buildings in the city were arranged along North Terrace, on the edge of the slopes leading to the River Torrens. These eventually included the railway station, Government House, the old and new parliament buildings, the Institute, the state library and art gallery, the museum, the original campus of the university and the botanic garden. Few cities had such an agglomeration of political and cultural buildings strung out together. Several of these institutions were influenced by

in The British Empire through buildings
Helen M. Davies

, they lost heavily. Railway stations were looted and vandalised. The burning of a railway bridge at Asnières in February interrupted the service of the PSG for several months, losing the company 15,000 francs a day and requiring 400,000 francs to install a temporary solution.54 Both Emile and Isaac Pereire appear to have engaged personally in some of the violent events when, taking control of a company of mobile guards put at their disposal by Adolphe Crémieux, Minister for Justice in the provisional government, they seized back the workshops and the goods station at

in Emile and Isaac Pereire
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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
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Sam Rohdie

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
Handling urban overflows
Orvar Löfgren

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?
Constructing the televisual pop community in the GDR
Edward Larkey

Carousel of Notes was filmed in the early morning hours at the Alexander­platz city railway station in Berlin. The pending arrival of the first local train (known in Berlin as the S-Bahn) at approximately 4am formed the narrative thread weaving together musical performances by vocalists Fred Frohberg, Helga Depré, Britt Kersten and two other vocal groups. One of these was a student political folklore group named ‘Aurora’ after a Russian battleship in the 1917 revolution. Throughout the broadcast, the performances were punctuated by intermittent announcements of the

in Popular television in authoritarian Europe
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A history of northern soul

This book is a social history of northern soul. It examines the origins and development of this music scene, its clubs, publications and practices, by locating it in the shifting economic and social contexts of the English midlands and north in the 1970s. The popularity of northern soul emerged in a period when industrial working-class communities were beginning to be transformed by deindustrialisation and the rise of new political movements around the politics of race, gender and locality. The book makes a significant contribution to the historiography of youth culture, popular music and everyday life in post-war Britain. The authors draw on an expansive range of sources including magazines/fanzines, diaries, letters, and a comprehensive oral history project to produce a detailed, analytical and empathetic reading of an aspect of working-class culture that was created and consumed by thousands of young men and women in the 1970s. A range of voices appear throughout the book to highlight the complexity of the role of class, race and gender, locality and how such identities acted as forces for both unity and fragmentation on the dance floors of iconic clubs such as the Twisted Wheel (Manchester), the Torch (Stoke-on-Trent), the Catacombs (Wolverhampton) and the Casino (Wigan).

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Brian McFarlane

without seeming to be in the least alienated by the vast social changes of the intervening decades. There were, of course, other aspects of the film to which they responded, such as the noir element in the cinematography or the effect of the comic couple of railway employees involved in their own relationship – mirroring that of their social betters – or the class issues that resonate in the film, or the atmospheric use of the railway station in which much of the action is set. Above all, though, it was their willingness to engage with the

in The never-ending Brief Encounter