In reply to Melissa Zinkin, who wrote:
> I have a paper on [...] "Film
and the Transcendental Imagination: Kant and Hitchcock's The
Lady Vanishes," in Imagination, Philosophy, and the Arts, ed.
Dominic Lopes and Matthew Kieran. London: Routledge, 2003. I argue
that
the train in the film is used as a metaphor for film itself.
Melissa, we may be in full agreement! Maybe check out my review, in the
current 'Senses of Cinema', of Grahame Smith's 'Dickens and the Dream of
Cinema' (2003). See in particular, the section headed "Trains", where I
argue, re Hitchcock's use of trains, that a train journey is an analogue
of moving film itself, and that 'pure film' is an analogue of Kracauer's
'the flow of life'.
And in the current 'Screening the Past', in a review of Mark Glancy's
recent monograph on Hitchcock's THE 39 STEPS, I argue (using the
'vitalist' metaphor, exptrapolated from Kant, Schopenhauer, Nietzsche,
and Bergson) why the climax of Hitchcock's film is a riposte to Mr
Memory, who knows only 'facts'!
URL for the 'Senses of Cinema' review:
http://www.sensesofcinema.com/contents/04/31/dickens_dream_cinema.html
URL for the 'Screening the Past' review:
http://www.latrobe.edu.au/screeningthepast/reviews/rev_16/KMbr16a.html
- Ken Mogg (Ed., 'The MacGuffin').
Website: http://www.labyrinth.net.au/~muffin
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