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Cinematic JourneysFilm and Movement$
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Dimitris Eleftheriotis

Print publication date: 2010

Print ISBN-13: 9780748633128

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748633128.001.0001

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Movements of exploration, discovery, revelation

Movements of exploration, discovery, revelation

(p.70) Chapter 3 Movements of exploration, discovery, revelation
Cinematic Journeys

Dimitris Eleftheriotis

Edinburgh University Press

This chapter examines movements of exploration, discovery and revelation, in their foundational relationship with sensibilities engendered in nineteenth-century mobile vision and in their reconfigurations in cinematic narratives, most obviously in travel films. As an analytical aid, it proposes two particular axes (activity(Left right arrow)passivity and certainty(Left right arrow)uncertainty) along which cinematic movement, and corresponding regimes of modern sensibility can be mapped. The first axis refers to the relationship between the camera and the diegetic body of characters and the second to movement of/in the frame that explores, discovers, or reveals. Through close textual consideration of movement in Roberto Rossellini's Voyage to Italy (Italy, 1954) and Luchino Visconti's Death in Venice (Italy/France, 1971), the chapter illustrates the relevance and analytical value of the two axes. It points towards the cultural and historical specificity of the emotive registers activated in/by movements of exploration, discovery, and revelation. It also revisits the case of the movement of reframing, perhaps the most obvious demonstration of the hegemony of narrative causality over frame composition and frame mobility.

Keywords:   Voyage to Italy, cinematic movement, Death in Venice, mobile vision, exploration, discovery, revelation, travel films, reframing, frame mobility

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