disruptive trains and stations have been for Laura.
The idea of the railwaystation 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, railwaystations 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 railwaystations: ‘From the platform the rails stretch away. Even when the terminal is a
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. Railwaystations 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
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 railwaystation in the town of Tara. The
father is an anti-fascist hero, murdered, so the story goes, by fascists in
1936. Father and son
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.
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.
Constructing the televisual pop community in the GDR
Carousel of Notes was filmed in the early morning hours at the
Alexanderplatz city railwaystation 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
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 railwaystation? 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
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 railwaystation in which much of the action is set. Above all, though, it was their willingness to engage with the