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 function of recent societies, but remarkably little recognition has been paid to some of the 'stopping places'_hotels, resorts, and the like_that this mobility presupposes. If the paradoxical features of fastened locations devoted to facilitating circulate were ignored via quite a few commentators, film-makers have proven extraordinary prescience and consistency in attractive with those 'still issues' round which the area is made to show. inns and lodges play a imperative position in a mess of movies, ranging throughout an immensely wide array of genres, eras, and nationwide cinemas. while past movie theorists have curious about the stream implied via street videos and comparable genres, the phenomenal contributions to this quantity expand the hot engagement with area and position in movie stories, delivering a sequence of interesting explorations of the cultural value of preventing areas, either on reveal and rancid. starting from the legendary beauty of the Grand inn, during the uncanny areas of the Bates hotel, to Korean 'love motels,' the wealth of insights, from numerous theoretical views, that this quantity promises is determined to alter our figuring out of the function performed by means of preventing locations in an more and more fluid international.
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Additional info for Moving Pictures Stopping Places: Hotels and Motels on Film
For Baron Felix von Gargern (John Barrymore) and the Russian prima-ballerina Grusinkaya (Greta Garbo), who are wealthier and more cosmopolitan, the 28 Chapter One hotel is simply ‘a way of life;’ their status results from their dwelling in a domain that is in some ways divorced from the routines and rules of the daily lives of their audiences. When the petite-bourgeois characters (Kringelein and Flaemmchen) pass through the hotel’s revolving door at the film’s end, they envisage a future, together but unmarried, in other hotels—living within the hotel’s contradictory ethos of economic freedom and rootlessness, of transcendence and alienation.
One example has to do with the creation of the Venice Biennale Film Festival in 1932. In the wake of a recovering Italian film industry, the festival was conceived as a state initiative for showcasing a new wave of Italian cinema, and Italian cinema’s new relation to (if not competitiveness with) other national cinemas. As the first international film festival in Europe, the Venice Biennale operated at the interface between internationalist and nationalpopular cultural economies. Throughout the 1930s, the festival (whose directors had been approved or appointed by the state) attracted and bestowed awards upon films from Europe, but it also included awards for domestic films, such as the Mussolini Cup for best Italian Film.
These films accomplished this in various ways. Squadrone bianco (The White Squadron, d. Augusto Genina, 1936), for instance, contrasted the exclusive arenas of haut-bourgeois masquerade (typical of the cinematic Grand Hotel) with the open spaces and remote military outposts of the African desert—the outpost as a counter-Grand Hotel. Or in Sotto la croce del sud (Under the Southern Cross, d. 35 And Il grande appello (A Call to Arms, or literally The Highest Calling, d. Mario Camerini,1936) involves a young man’s journey from his home in Italy to Africa, where he works as part of a company of Italian laborers/settlers.