Week 8: Trains
The article “Parallel Tracks” repeatedly makes the point about film and trains being related in their ability to closely associate time and space, and to alter people’s relationships to both. I wonder how this relates to the travel/nature/ethnographic films that were a part of the cinema of attractions, because those support not just the compression of distance, but it’s apparent removal (because most of the places featured were inaccessible to the average cinema-goer of the time).
Tamara
February 27th, 2008 at 11:02 pm
I’ll have quite a bit to say in my presenation tomorrow, the text of which I’ll post after the fact. Suffice to say for now, however, I was surprised at how much the readings focused on trains compared to how little on the shorts we’ll be watching. The screenings almost seem more relevant to next week’s readings.
I watched the entire series of The Perils of Pauline, and I assure you it’s a worthwhile investment of three hours. SMIL’s copy may be in very bad shape, but it’s nonetheless a fascinating historical document. It shows a childish exuberance in adventure that later Hollywood films would not retain — treating all the new world’s modern technologies as a giant playground to horse around on.
February 28th, 2008 at 1:29 am
Adamo:
Hey hey. New week. New reading. New blog.
First off, I have to say i enjoyed Lynne Kirby’s writing. It was clear, concise and therefore enjoyable. I read it like i would a leisure read. A good break from the dense academic writing that we are all so familiar with.
So, the content. The parallels Kirby draws between the train and the cinema as both technological innovations that brought positive and negative changes to society is obvious. However, throughout the readings i kept thinking about something i will attempt to put into words.
I guess i can use the word intent. The intent between early cinema and the train seems to be different, yet resulting in the same consequences. For example, i feel the train is a direct branch of the horse and buggy (thus metal horse) and therefore a more refined method of transportation — proving the intent to transport. Now with the cinema, although yes the cinema is an extension of the photograph, there is almost this ambiguous intent. For instance, i feel when melies and the lumiere brothers ran those initial screening (as Tamarah points out in her blog about the cinema of attractions), it was more to demostrate the capabilities of technology — to share with others the surprise early filmmakers came across in their once private experiments. Therefore, it was almost as if there was no NEED for the innovation of the cinematic apparatus, versus the need to craft quick transportation with the train to aid industrialism/consumerism.
So i ask, what did the innovators of film aim to do? Were there consumerist intents behind cinematic innovations, or was that an unexpected consequences (since Kirby does point out the ways in which film created classes of consumers)? Although the cinema and train have had similar consequences, I feel its important, or at least interesting, to analyze how each technological innovation began as a thought… a concept. And what purpose this thought/concept initially aimed to serve. In doing so, perhaps we can further unveil the difference between technology as art and technology as necessity. And furthermore, perhaps we can understand the common transition that occurs — from art to necessity (like film/television and media) and perhaps vise versa (the nostalgia of the train in post-modernity).
Hopefully i made sense. It was just something i was pondering.
See you tomorrow!
cheers,
Adamo
February 28th, 2008 at 2:27 am
I was very interested in the ideas of the second article for this week. Although it was pretty long and a bit repetitive, I still found the metaphors and langauge used to describe Railroad space and railraod time. The first utterance of the text sums it up with “annihilation of space and time”. What a fasinating way of putting it. It really did seem like distances were shrinking. The article continues later to talk about how it is our subjective perception that is really shrinking and we relate this shrinking to the potencial continual shrinking of the future. Cinema played a big part in portraying this loss of distance between loved ones and onther things such as shortening the distance and time for help to arrive at a situation. This is an interesting concept that I hope we will be able to discuss futher in class.
March 1st, 2008 at 7:37 pm
I have to admit that some of these readings lately have been making me really sad. Film seems to be so deeply associated with technology, as if that was the only thing that validates its study. Yet, there is something about the early films we are watching that suggest, more profoundly even than films of today, that there is something much more to cinema then its relation to other technologies.The train surely annihilates space and time through speed. But does the cinema? I always think of cinema as the ability to slow down time. It is not as though I can not see the parallels between the train and cinema that Kirby so clearly emphasises- they are really brilliant parallels. However, I feel something similar to what Adamo was saying with regard to intent. Not even intent, but possibilities. I think the possibility for democracy and beauty as a result of trains is finite, whereas with film it is infinite. Trains had a very real negative affect on the lives of Indigenous people, as Kirby points out. The cinema did too, naturalzing false notions of race, stagnating a culture as a primitive wonder…but cinema does not have to do that. Cinema in the hands of Zachary Kunuk is used to empower.
I guess I am more interested in how people use technology, then how it uses us. I do not read early cinema as a technological jerk-off of a few men whose only interest was in the gadget.
Okay, I have that off my chest, for now…I also wanted to talk about something in class in reference to the first film we watched. Someone mentioned that the ‘female’ action star in that film is only a female heroine in a “male” space (the ’space’ of ‘physicality’) and that it was therefore only women’s appropriation of typical ‘male’ activities and therefore was not so progressive. I do not understand this point of view at all. Why is physicality a male activity? Is that not what the film is fighting against? A naturalized notion of what is male and what is female? I think that there is something so powerful about seeing women on screen use their bodies in a way that is not solely to attract a sexual gaze. I may not be a violent woman, but I like seeing women kick ass in some of the contemporary films that were brought up- like, ahem, Charlie’s Angles. I also am only partly ashamed to like the Tarrentino films that were recently bashed by feminists, where women ‘appropriate’ male activity’ using aggression manifested in physical prowess for revenge. I like Crouching Tiger, and the dance film How She Move for the same reason. I think it is for the same reason my Dad likes Rambo films. In any case, I loved the first film we watched. I loved how she put on her cool hat before she saved the day through her physicality. I loved that she was a free agent. Kirby says, “Early train films are often involved in the undoing of sexual difference, of a set of anchors for sexual identity that floats, comically, in an age of mechanical reproduction.” That sentiment is so true for that first film.
March 3rd, 2008 at 6:32 am
I was particularly interested in the discussion in the readings of the way that trains diminished or even annihilated distances. They traveled 3 times as fast as carriages and thus forever altered peoples conception of time and space. This is not only significant to the cinema because it is seen as being capable of altering time and space, but interesting also because this is a common feature of all globalizing technologies. By “globalizing technologies” I am referring to technology that contributes to the globalization of the world. Trains, like the cinema, have been strong forces in the acceleration of globalization since the industrial revolution. Trains connect us in a literal sense while the cinema connects us through experience. People on opposite ends of the world can share the same or similar experience by watching the same movie. The cinema can also connect us to the past in this sense. When we watch the Perils of Pauline we can share in the experience it provided for audiences when it was first released.
It is because of the potential for interconnectedness the world over through such technologies as these that I find it difficult to understand recent anti-globalization movements. Globalization has been around ever since the first human civilization had expansionist motives, which is a long time. Therefore, globalization is not something recent and has been in motion (and accelerating) for so long that it seems almost like it is in our nature. What needs to be acknowledged is that globalization is never going to be stopped. Technologies such as the cinema and others can be used to emphasize the world’s interconnectedness. There is fear that globalization suffocates the local and Americanizes, liberalizes and privatizes the world. What the cinema offers, and what anti-globalization activists need to emphasize, is a way to learn about what is foreign and to help us realize what we share and how we depend on each other. Thus creating a reciprocal relationship of mutual respect, or at the very least, tolerance.
March 5th, 2008 at 2:33 pm
I also just read an article that talked, in a Foucault type way, about how trains were used in the 19th century as a mechanism of discipline. A way to monitor people through a ‘ticketing’ system. Similar to cinema?
March 6th, 2008 at 4:35 pm
My presentation transcript, as promised…
The first two chapters of Lynne Kirby’s book Parallel Tracks: The Railroad and Silent Cinema are first and foremost rigorously historical, displaying – what seems to me at any rate – a high standard of research and a scrupulousness about giving cogent explanations and relevant examples. It’s from this foundation, then, that she launches on some ambitious and intriguing study of gender and psychoanalysis.
Her subject is quite simply the audacious and fascinating claim that the very high incidence of trains in early cinema was not simply a case of one new facet of Western modernity gravitating naturally towards another. This thesis, I admit, would seem logical enough after viewing the entire run of The Perils of Pauline, which features racing cars, submarines, battleships, and airplanes getting just as much screen time as trains. Rather, Kirby claims that the sort of passive spectator role for panoramic images which the train and the cinema assigned to the public are virtually identical, and they were certainly linear descendants of each other. Furthermore, once their periods came to overlap, their commercial successes and cultural legitimations were almost invariably mutually beneficial.
The historical context Kirby is at pains to establish is that in the early 19th century, the train was essentially the first mode of transportation that did not depend upon horse power, and therefore was not limited to the speed horses could go at. This fact in itself was a severe blow to the spatial dynamics that the peoples of Europe and America had grown up with, and the train was thus greeted with extreme scepticism in many quarters, with warnings and condemnations about social discorporation and licence for immorality that bordered on the alarmist and hysterical. Likewise, its advocates used democratic language about integration and harmony that today seems ludicrously utopian. These vocabularies are uncannily similar to how the new medium of film would be received two generations or so later.
Once these initial disputes had passed, however, some new facets of the train as a social phenomenon came into focus, which further underlined the eventual parallels with the cinema: “the first true mass transportation and the first true mass entertainment,” as Kirby summarizes it, each of which “created a new kind of subject.”
They were in fact only the two most sensational examples in a century when numerous new forms of technological attractions had emerged. In addition to the obvious example of photography, there was also the diorama, the panorama, wax museums, all manner of royally mounted exhibitions, plus the palatially-designed department stores which haven’t stopped evolving since. In short, the Europe of the Franco-Prussian War was a vastly different media world than that of the Seven Years War a century earlier.
Whereas for all the rhetoric surrounding trains and the cinema, the world’s geographical space remained stubbornly the same, time in fact did literally morph in the late 19th century. After much debate and controversy, America and most of Europe passed laws to standardize time measurement. Each individual town was stripped of its unique folk traditions of time – usually derived from the sun and the climate – and was inserted into a grand national scheme based on scientific calculation. There could have been few more unambiguous symbols of how the Western world was changing fundamentally.
It is – as Kirby points out – an amazing piece of historical synchronicity that within only a few years of these time-rationalizing measures being passed for the train’s benefit, the cinema should emerge. The cinema is – as we’ve already read in Mary Ann Doane and are reminded here – the penultimate art form for the capturing, recording, and manipulation of time. The precision scheduling which the film industry would later be built upon – uncannily like the railroad industry in fact – is contained in this notion. It is also, Kirby postulates, the medium which – thanks to actualities and newsreels – made a sense of global simultaneity truly possible for the first time.
Both inventions were products of the Victorian era, and they each ended up aspiring to the goal of rendering themselves acceptable to the prim, proper middle-class woman, who was held to be the delicate moral guardian of social acceptance and legitimacy. Her approval secured, it was hoped that this would ensure long-term survival as an industry and the most reliable profit margins. Just as this archetype was being courted the most assiduously, however, Kirby makes the case that the society that created it was already making nonsense of it. In the psychiatric scene of the late 19th century, the train and the cinema were only two small – if important – aspects of an entire society where due to the rapid changes of urbanization, industrialization, unprecedented media bombardment, and gender-integrated workplaces, shock, trauma, anxiety, and hysteria were no longer simply attributable to women and their nerves, but were cutting across gender and class lines as never before.
It was in this context that the most daring and transgressive “girl-train films” were produced, and we come to our films for today. The “new woman” that Helen and Pauline et. al. represented was not a product of an environment that was self-evidently improving along a feminist teleology, but one in which young women entering the work force could feel thrown upon their own resources while still facing all manner of institutionalized discrimination. Allowed to demonstrate some professional activity and aptitude, but radically circumscribed in how they could take it or how much they might ultimately hope to make out of it. That trains and railroads were very common settings for the negotiation of these issues should not be surprising for all the reasons Kirby has outlined thus far.
Helen and her ilk thus represent the embattled “new woman” tomboy-ishly making the most of the role society has allowed her – seizing every moment to demonstrate personal worthiness through bravery and sacrifice, but ultimately not really challenging the restrictions she lives under. This makes for compelling cinema, because obviously riding motorcycles breakneck alongside the train is more immediately exciting than being the engineer who drives the train – nonetheless, it’s ultimately an “all sizzle, no steak” approach to lifestyle. Ultimately, these serials were probably meant to appeal to young boys above all others, Kirby having already discoursed on how railroad adventure was the Holy Grail of American boyhood in this period. The limited longevity of this genre of adventure is probably at least partially attributable to its relative frankness is reifying the contradictions of the “new woman.”
The excerpts from Wolfgang Shivelbusch we went through restate many of the same historical and psychiatric points as Kirby, but also contain a few last interesting facts…
The frequent imagery of fired projectiles in early descriptions of the train give a sense of just how new and science fiction-like the train seemed to people when it first appeared. “Annihilation of time and space” is the phrase oft repeated, and we’re told about “subjectivity” and “losing control of one’s perceptions.” We today can certainly summon up extreme imagery to gain an approximate understanding of how they felt – think of some nice cinematic pictures of shinkansen bullet trains rocketing through 23 miles of Channel Tunnel 150 feet under the seabed – but to get a truly equivalent societal impression today we’d probably have to suddenly be exposed to something like, say, personal hover-pods which can attain Mach 3.
To read Shivelbusch, it appears that many nineteenth century travellers – presumably the well-travelled gentry – were ferocious snobs when it came to railway travel, and refused to budge from their perceptual preconceptions, while others – presumably the lower-middle class and an occasional proletarian, the sort of people who would always appreciate new novelties – took to it almost immediately. This disparity of reactions highlights again the similarities between the way the new perceptual experiences of train and cinema were received during the 19th century. Kirby was at such pains to demonstrate this in terms of gender, while Shivelbusch seems to emphasize the class aspect more.
It surprises me not in the least, incidentally, that some of the great artists of Western history – Victor Hugo, Johann Wolfgang von Goethe and Gustave Flaubert, for example – were among the curmudgeons. One can well imagine ordinary people who’ve made only normal use of their perceptual abilities throughout their lives acquiescing to the total restructuring of them, but artists who live by and for their sensory impressions are probably of a very different type. Hugo was disagreeably overwhelmed by the blurring of the scenery, Goethe mourned the loss of the tactile sensations his previous travels by horse had afforded him, and Flaubert was simply so bored he would always simply make a point of sleeping through the trip. One can only imagine the invective with which Walter Scott would have abominated the invention. Shivelbusch also points out that Marcel Proust was apparently more ambivalent, but since he lived at least a generation later than the other triumvirate, and would have grown up with trains, this is hardly surprising. It is interesting that all these artists were writers, who must construct imagery and perception at a degree’s remove through words. One wonders how painters – those artists most directly attuned to visual perception would have reacted to the new panoramic impressions of train travel.
At one point, on pg. 62, Shivelbusch seems to rank the Parisian panorama shows which simulated the experience of train-riding as direct ancestors of the cinematic experience, thus tightening up the train-cinema line of descent even further than Kirby did. Ultimately, cinematic spectatorship and train spectatorship have harmonized extremely well. As anyone who’s seen Lost in Translation will know, the melancholic flaneur passively gazing out the train window at the panoramic vistas ambling past, and being appreciated in turn by passive cinephile spectators as part of a panoramic vista herself is one of the great standby tropes of cinematic drama in our detached post-modern age.
Thus, ultimately, Kirby’s subject is by no means solely relevant to the earliest days of cinema. It could, with enough time and effort, be expanded into a magisterial grand history of cinematic representations of trains, and how their place in the spectatorial perceptual apparatus has shifted and changed over the century of cinema.
March 15th, 2008 at 1:35 pm
Again with respect to trains, what I found fascinating was the link to psychology and trauma. As I mentioned previously in our discussion of The Lonedale Operator, and what seems to be a common theme in Early cinema (one the we haven’t directly covered) is the idea of crime and in particular how the train brought about the mobility of crime.
The train had the ability to connect, however there was this anxiety about just what would be “brought into” certain spaces. Undesireables such as robbers, could now enter into otherwise distant spaces and as members of the lower class, their ability to penetrate the boureios space (both business and private residences) created an alarming fear of “outsiders”
as well during this period, union organizations involved in the construction of the railway was a very big issue during the fin de siecle and the first fifth of the 20th century. Again we see how class and labour make their way into the cinema and what is interesting is how the rail and the lower class are at times connected. Although designed for the bourgeois, or at least those who could afford it, the delays and even the shutting down the system due to union activity was also an issue during this period, which would have resulted in loss of wages. So the rail and labour and space are all connected and mediated by way of race (if any) and by gender as well.
March 23rd, 2008 at 9:02 pm
I recently saw the animated short, Madame Tutli Putli and thought it portrayed very well the anxieties, fears of shared space for mixed genders and potential crime that one may face on a train. The train provided room within a public space for women and in a strange exchange, women were used to add respectability to this new technology/space. This short is an interesting take on gender, crime and traumatic experience while traveling on a train.
April 28th, 2012 at 8:23 pm
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