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Journeys on Screen

Theory, Ethics, Aesthetics

Edited by Louis Bayman, Natália Pinazza

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Rethinks cinematic journeys through history, globalisation, form and genre

Addressing the appeal of the journey narrative from pre-cinema to new media and through documentary, fiction and the spaces between, this collection reveals the journey to be a persistent presence across cinema and in cultural modernity. Drawing on examples from different regions and cultures that traverse art and genre cinema, the book explores the journey as a motif for something wider, a metaphor for self-discovery and social transformation, and evidence of autonomy and progress (or their lack). Illuminating areas of global movement, belonging, diaspora and memory, these essays document epochal changes in human behaviour, from urbanisation, migration and war to tourism and shopping.

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Section 1: Mapping Cinematic Journeys: Chronotopes of Journeys

Chapter One: Global Visions: Around-the-World Travel and Visual Culture in Early Modernity, Tiago de Luca

Chapter Two: Brief Encounters: The Railway Station on Film, Lucy Mazdon

Chapter Three: Diasporic dreams and shattered desires: displacement, identity and tradition in Heaven on Earth (Deepa Mehta 2008), Clelia Clini

Chapter Four: Chronotopic ghosts and quiet men: José Luis Guerín's Innisfree, Michael Pigott

Chapter Five: Memories, Notebooks, Roads: The Essayistic Journey in Time and Space, Adam Ludford Freeman

Section 1a: Expanding Europe: Intersistial Production and Border-Crossing in Easter European Cinema

Chapter Six: Shadows of Unforgotten Ancestors: Representations of Estonian Mass Deportations of the 1940s in In the Crosswind (2014) and Body Memory (2011), Eva Näripea

Chapter Seven: The Holocaust and the Cinematic Landscapes of Postmemory in Lithuania, Hungary and Ukraine, Maurizio Cinquegrani

Chapter Eight: Hesitant Journeys: fugitive and migrant narratives in the new Romanian Cinema, László Strausz

Chapter Nine: Women on the Road: Representing Female Mobility in Contemporary Hungarian-Romanian Co-Productions, Hajnal Király

Section 2: Form and Narrative in Journey Genres

Chapter Ten: The Sense of an Ending: Music, Time and Romance in Before Sunrise, Carlo Cenciarelli

Chapter Eleven: Moving in Circles: Kinetic Elite and Kinetic Proletariat in the ‘End of the World’ Films, Ewa Mazierska

Chapter Twelve: Transnational productions and regional funding: Border-crossing, European locations and the case of contemporary horror, Stefano Baschiera

Section 2a: The Politics of the Road Movie

Chapter Thirteen: Colonialism in Latin American Road Movies, Natália Pinazza

Chapter Fourteen: Spaces of failure: The gendering of neoliberal mobilities in the U.S. indie road movie, Anna Cooper

Chapter Fifteen: Sic transit: the serial killer road movie, Louis Bayman

Notes on Contributors

About the Author

Louis Bayman is a lecturer in Film Studies at the University of Southampton. He holds a PhD from King’s College, London and has published various articles on popular genres especially in relation to Italian cinema, serial killer cinema, film aesthetics and retro and nostalgia. He is author of the monograph The Operatic and the Everyday in Postwar Italian Film Melodrama (2014) and co-editor of the collection Popular Italian Cinema.

Natália Pinazza is a lecturer in Portuguese Studies at the University of Exeter. She holds a PhD and MA from University of Bath and a BA from University of São Paulo. She undertook a UNESCO fellowship at the University of Ottawa, Canada. Pinazza’s previous publications include New Approaches to Lusophone Culture, Journeys in Argentine and Brazilian Cinema: Road Films in a Global Era, World Cinema Directory: Brazil, and World Film Locations: São Paulo. She has published in journals such as the Journal of Latin American Cultural Studies and Alphaville: Journal of Media and Film Studies.


From the interplanetary travel and alien encounters of science fiction films to the exploratory drive and spiritual growth associated with road movies, journeys both actual and metaphorical have been central to the motion picture medium since its origins as a technological curiosity over a century ago. The contributors to this appropriately globe-trotting, border-crossing collection — with chapters focusing on migrant narratives in Romanian cinema, diasporic themes in Indian filmmaking, and everything in-between — make the case that the story of the movies is and has always been the story of moving. In an age of mass deportations and international travel bans, Journeys on Screen reminds us of the need for cross-cultural connectedness and cosmopolitan understanding of other people and places, and is sure to inspire a restorative wanderlust in its readers.

- David Scott Diffrient, Colorado State University

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