By David B. Clarke, Valerie Crawford Pfannhauser, Marcus A. Doel, Stuart Aitken, Yvette Blackwood, David Scott Diffrient, Asbjorn Gronstad, Greg Hainge, James Hay, Stan Jones, Roland-Francois Lack, Rob Lapsley, Katherine Lawrie, Jann Matlock, Heather NorrisN
Mobility has lengthy been a defining characteristic of recent societies, but remarkably little recognition has been paid to a number of the 'stopping places'_hotels, hotels, and the like_that this mobility presupposes. If the paradoxical traits of fastened locations devoted to facilitating circulation were ignored through numerous commentators, film-makers have proven extraordinary prescience and consistency in attractive with those 'still issues' round which the realm is made to show. lodges and resorts play a imperative function in a large number of movies, ranging throughout an immensely large choice of genres, eras, and nationwide cinemas. while prior movie theorists have taken with the move implied via highway videos and related genres, the phenomenal contributions to this quantity expand the hot engagement with area and position in movie stories, supplying a sequence of attention-grabbing explorations of the cultural importance of forestalling areas, either on display and stale. starting from the legendary beauty of the Grand lodge, throughout the uncanny areas of the Bates inn, to Korean 'love motels,' the wealth of insights, from numerous theoretical views, that this quantity gives you is decided to alter our knowing of the position performed by way of preventing areas in an more and more fluid international.
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Additional resources for Moving Pictures Stopping Places: Hotels and Motels on Film
In certain respects Camerini, who had worked at Paramount’s Joinville studios producing Italian-language versions of Hollywood films, brought to Italy a new kind of internationalist style (a style that partly borrowed from and competed with Hollywood film genres that had begun to dominate European theatres over the 1920s). Rotaie converted some of the stylistic elements of French, German, and Hollywood films, and it was produced for distribution in four languages. It is no small coincidence therefore that Rotaie is structured as a journey/vacation/tour along a route (as the title suggests, a modern rail system) to a Grand Hotel.
My own perspective about the (in)significance of the Grand Hotel in the cultural economy of Fascist Italy builds upon Kracauer’s insights but pulls them in the direction of other theorists, particularly Henri Lefebvre’s writing about a philosophy and politics of ‘everyday life’ and the ‘production of space,’ and Michel Foucault’s writing about the microphysics of power and the many rationalities of governance in modern societies. Linked to this chapter’s consideration of the Grand Hotel, Kracauer’s rumination about the hotel lobby is as much a coordinate in my own theoretical compass as an element in the historical conjuncture that this chapter examines.
On one hand, he desires to prove to his family that he is familiare (familiar/family) and not a child, spendthrift, snob, poseur, or vagabond—any of the qualities that his family associates with the lifestyle and ‘loose morals’ of the highly mobile leisure set. On the other hand, he misses the fun and esteem of playing Signor Max. This middle part of the narrative essentially concerns his desperate attempts to overcome his alienation. Like the lovers in Rotaie, whose desires are first realized through popular mythologies, he turns to popular images that surround him every day at the newsstand.