This book investigates the reasons that the cinematic movement of the frame becomes such an attractive and pervasive aesthetic in cinema in general and in travel films in particular. The chapter is organised around three areas of enquiry. Part I situates the genealogy of movements of exploration, discovery and revelation in the articulations of subjectivity, vision and movement of nineteenth-century technologies of vision. It suggests that certain types of mobile vision prefigure the cinematic use of frame mobility and identifies two particular types of (virtual or actual) movement as particularly significant: a steady, smooth and continuous motion with linear direction and a circular movement around specific objects of interest. Part II considers specific kinds of contemporary or recent non-American ‘road movies’. Part III considers the mobility of films as cultural products involved in processes of international circulation.
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