In the last blog, I wrote about the connections between walking and nature in Frankenstein. On the one hand, there are the rational, Romantic imaginations of Victor and Clerval who observe and document the landscape to present it to the reader as if they were viewing the scene through a cinema screen; on the other… Continue reading Frankenstein, urban walking and the uncanny.
In the last blog, I discussed the links between walking and death in Mary Shelley’s Frankenstein. This was the first in a series of blogs examining walking in the novel, and I want to move on to how, in the novel, Mary Shelley is able to shift between walking as observational and as experience. Before… Continue reading The sensation of walking: a preface to observations on Walking in Frankenstein…
What is the connection between travel writing, film and the flâneuse? I’ve been looking at some examples of women’s travel writing from the nineteenth century as well as more recent examples. Two of these I have included in a link below and I have also put together some examination type questions which will be good… Continue reading Film, travel writing and the flaneuse.
Michel de Certeau is one of the foremost thinkers on everyday space. In an essay on walking written in 1984, (to be found in his book ‘The Practice of Everyday Life’) he wrote that walking is very much akin to a speech act, and that stories begin at ground level with footsteps. This is rather… Continue reading Post script to “The Flaneur in Jekyll and Hyde”: uncanny homes
In my last blog I discussed the act of walking and in particular the figure of the flâneuse in Ruth Orkin’s famous 1951 photograph of a woman walking in Florence. I also briefly touched on the ambulant subjects in Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde and I want to… Continue reading The Flaneur in Dr Jekyll and Mr Hyde
Some spoilers here! Moonlight is haptic cinema. It touches the senses, immerses you in an embodied, tactile experience; it moves you, not just in an emotional sense but physically too. The swirling camera in the opening sequence is dizzying in its construction; it is a mobility that is disorienting and signals from the outset Barry… Continue reading Moonlight – Barry Jenkins
Giuliana Bruno likens the experience of watching a film in the cinema to taking a journey. For women at the birth of cinema, it was also an opportunity for them to adopt the role of flaneuse (or female flaneur) – a role denied them by their gender because the nature of the flaneur was a male… Continue reading The Girl on the Train: mobility, voyeurism and the lives of others
Don’t know whether this worked. In an earlier post, I wrote about ventrals and dorsals – the combination of the dynamics of movement and contemplation of the image (Dorsals and ventrals: neuroscience, film and literature). I’m not going to go into too much detail here (you can read the earlier blog) but it’s come from… Continue reading Macbeth Act 2 Scene 2 – movement and contemplation
(Warning – contains plot spoilers!) The pervasive influence of the church over a colonising force whose land-lust is based on the belief that their right is ordained by God, and that authority and might are synonymous with power, has more than a passing resonance to the opening scenes of Shakespeare’s Henry V. And yet, having… Continue reading Leviathan (Andrey Zvyagintsev, 2014)
I was reading a review of Hitchcock’s Psycho in a 1960 film magazine. In it, the reviewer Peter Baker recommended that Mr Hitchcock “should stick to the things he knows about, and can do so well”. Along with the fictional Mr Birling’s ‘the Titanic will never sink’ and Alan Hansen’s declaration that ‘you never win… Continue reading Flight Paths