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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

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.

, 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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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
A conceptual history 1200–1900

This collection explores how concepts of intellectual or learning disability evolved from a range of influences, gradually developing from earlier and decidedly distinct concepts, including ‘idiocy’ and ‘folly’, which were themselves generated by very specific social and intellectual environments. With essays extending across legal, educational, literary, religious, philosophical, and psychiatric histories, this collection maintains a rigorous distinction between historical and contemporary concepts in demonstrating how intellectual disability and related notions were products of the prevailing social, cultural, and intellectual environments in which they took form, and themselves performed important functions within these environments. Focusing on British and European material from the middle ages to the late nineteenth century, this collection asks ‘How and why did these concepts form?’ ‘How did they connect with one another?’ and ‘What historical circumstances contributed to building these connections?’ While the emphasis is on conceptual history or a history of ideas, these essays also address the consequences of these defining forces for the people who found themselves enclosed by the shifting definitional field.

Place, space and discourse
Editors: Christine Agius and Dean Keep

Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.

Constructing the televisual pop community in the GDR

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
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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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