Book contents
- Frontmatter
- Contents
- Figures
- Notes on the Contributors
- Introduction
- Part 1a Mapping Cinematic Journeys: Chronotopes of Journeys
- 1 Global Visions: Around-the-World Travel and Visual Culture in Early Modernity
- 2 Brief Encounters: The Railway Station on Film
- 3 Diasporic Dreams and Shattered Desires: Displacement, Identity and Tradition in Heaven on Earth
- 4 Chronotopic Ghosts and Quiet Men: José Luis Guerín’s Innisfree
- 5 Memories, Notebooks, Roads: The Essayistic Journey in Time and Space
- Part 1b Expanding Europe: Interstitial Production and Border-crossing in Eastern European Cinema
- 6 Shadows of Unforgotten Ancestors: Representations of Estonian Mass Deportations of the 1940s in In the Crosswind and Body Memory
- 7 The Holocaust and the Cinematic Landscapes of Postmemory in Lithuania, Hungary and Ukraine
- 8 Hesitant Journeys: Fugitive and Migrant Narratives in the New Romanian Cinema
- 9 Women on the Road: Representing Female Mobility in Contemporary Hungarian–Romanian Co-productions
- Part 2a Form and Narrative in Journey Genres
- 10 The Sense of an Ending: Music, Time and Romance in Before Sunrise
- 11 Moving in Circles: Kinetic Elite and Kinetic Proletariat in ‘End of the World’ Films
- 12 Gothic Journeys: Travel and Transportation in the Films of Terence Fisher
- 13 Transnational Productions and Regional Funding: Bordercrossing, European Locations and the Case of Contemporary Horror
- Part 2b The Politics of the Road Movie
- 14 Colonialism in Latin American Road Movies
- 15 Spaces of Failure: The Gendering of Neoliberal Mobilities in the US Indie Road Movie
- 16 Sic transit: The Serial Killer Road Movie
- Index
2 - Brief Encounters: The Railway Station on Film
Published online by Cambridge University Press: 06 May 2021
- Frontmatter
- Contents
- Figures
- Notes on the Contributors
- Introduction
- Part 1a Mapping Cinematic Journeys: Chronotopes of Journeys
- 1 Global Visions: Around-the-World Travel and Visual Culture in Early Modernity
- 2 Brief Encounters: The Railway Station on Film
- 3 Diasporic Dreams and Shattered Desires: Displacement, Identity and Tradition in Heaven on Earth
- 4 Chronotopic Ghosts and Quiet Men: José Luis Guerín’s Innisfree
- 5 Memories, Notebooks, Roads: The Essayistic Journey in Time and Space
- Part 1b Expanding Europe: Interstitial Production and Border-crossing in Eastern European Cinema
- 6 Shadows of Unforgotten Ancestors: Representations of Estonian Mass Deportations of the 1940s in In the Crosswind and Body Memory
- 7 The Holocaust and the Cinematic Landscapes of Postmemory in Lithuania, Hungary and Ukraine
- 8 Hesitant Journeys: Fugitive and Migrant Narratives in the New Romanian Cinema
- 9 Women on the Road: Representing Female Mobility in Contemporary Hungarian–Romanian Co-productions
- Part 2a Form and Narrative in Journey Genres
- 10 The Sense of an Ending: Music, Time and Romance in Before Sunrise
- 11 Moving in Circles: Kinetic Elite and Kinetic Proletariat in ‘End of the World’ Films
- 12 Gothic Journeys: Travel and Transportation in the Films of Terence Fisher
- 13 Transnational Productions and Regional Funding: Bordercrossing, European Locations and the Case of Contemporary Horror
- Part 2b The Politics of the Road Movie
- 14 Colonialism in Latin American Road Movies
- 15 Spaces of Failure: The Gendering of Neoliberal Mobilities in the US Indie Road Movie
- 16 Sic transit: The Serial Killer Road Movie
- Index
Summary
Writing in The Guardian in 2010 David Thomson questioned a recent poll which had named David Lean's Brief Encounter (1945) the best movie romance of all times:
In how many other countries would a poll pick Brief Encounter as the best movie romance of all time? Even in Britain, I wonder how many people born since, say, 1975 would rate it so highly. But for a generation that remembers when the trains ran on time and station buffets were as tidy and inviting as the one in this movie, Brief Encounter is etched in nostalgia for an era when trapped middle-class lives contemplated adultery but set the disturbing thought aside. (Thomson 2010)
Thomson's invocation of nostalgia is revealing. As I shall suggest later in this chapter, Lean's film is very much of its time, its narrative of selfsacrifice and decency deeply rooted in the culture and mood of post-war Britain. As Thomson intimates, its charm and appeal for many spectators of the twenty-first century would to a large extent be connected to nostalgic fantasies of an earlier, less complicated society. Brief Encounter depicts a middle-class Britain on the cusp of change, a Britain irrevocably altered by the experience of the Second World War but still clinging to long-held ‘British’ values and behaviours, a deeply reassuring vision, it would seem, to both contemporary audiences and modern-day viewers.
Lean's film is of course famously set in and around a railway station. Lean had originally intended to film in London but due to the ongoing air raid risk relocated to Carnforth in north Lancashire, where the lights from filming were less of a danger. As I shall go on to discuss later in this chapter, the railway station is much more than a location or backdrop for the film's narrative of lost love. Rather it provides a crucial structuring framework for the binaries of arrival and departure, movement and stasis, intimacy and public appearance, adventure and everyday duty which lie at the heart of the film. Milford Junction, the railway station created from Carnforth in Brief Encounter, is itself a place of both movement and adventure and containment and sacrifice. While it brings the film's lovers together, it also contains and ultimately curtails their love affair, returning them to family, duty and respectability.
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- Information
- Journeys on ScreenTheory, Ethics, Aesthetics, pp. 36 - 49Publisher: Edinburgh University PressPrint publication year: 2018