Mixing transportation studies, film analysis, and urban geography, this article looks at El tren blanco (The white train), a documentary film from 2003 by directors Nahuel García, Sheila Pérez Giménez, and Ramiro García. In light of work by train theorist Wolfgang Schivelbusch and urban geographer Henri Lefebvre, the documentary's interviews with cartoneros—cardboard workers who ride daily into central Buenos Aires to pick up recyclable goods—speak to the alienation and spatialization of class that characterize the contemporary urban experience. Following an urban cultural studies approach, attention is balanced between the social context of Buenos Aires itself and the film as an item of aesthetic value. In the end, it is important to pay attention both to the train car as a space in itself and to the historical and contemporary positioning of the train in larger-scale urban shifts.
Spatial and Social Alienation in the Documentary Film El tren blanco
Landscapes of Englishness in the Postwar Railway Poetry of John Betjeman and Philip Larkin
Railways in John Betjeman's and Philip Larkin's poems of the 1950s and 1960s function as provocative signifiers that interrogate and encourage definition of what constitutes the modern English landscape. Through their works, which recognize how railways have been held to register the cultural health of the nation from their inception, it becomes clear that the panoramic perception that railways make possible aptly represents the self-conscious cultural gaze filtered through crisis that critics argue prevails in the postwar context. Betjeman's and Larkin's speakers reveal the capacity for railway travel to disrupt the settled vision of nationhood at the heart of heritage-based Englishness; at the same time, railways – and they themselves – are not outside of this discourse. For Betjeman and, to a greater extent, Larkin, it is the possibility of double return embodied by the railway system that perhaps proffers a desirable mode of inhabiting the modern English nation.
Introduction to the Special Section
Steven D. Spalding
Scholars writing about railway mobility have pointed to the rails' impact on the culture of cities, while urban theorists and critics have cited the crucial importance of movement and mobility to how cities are lived. A truly interdisciplinary approach, which balances the priorities of mobility studies and urban studies, and informs itself through compelling cultural artifacts (including visual, literary, or other media) offers insight into the processes of urban cultural production and their close link to the discursive valences of urban rail mobility.
Circulation as History in East Asia under Empire
Histories of modern mobility often assume that modern forms of movement arrived in East Asia as part of a universal process of historical development. This article shows that the valorization of modern mobility in East Asia emerged out of the specific context of Euro-American imperial encroachment and Japanese imperial expansion. Through an examination of the tropes of opening and connecting, the article argues that the mobility of the modern can be understood as an “imperial” mobility in two senses: one, as a key component in European, American, and Japanese arguments for the legitimacy of empire; and two, as a global theory of history that constituted circulation as a measure of historical difference.
Review of the Railway Museum in Saitama City, Japan
Jessamyn R. Abel
The Railway Museum, Ōnari 3-47, Ōmiya Ward, Saitama City, Saitama Prefecture, Japan Admission: ¥1000/500/200 http://www.railway-museum.jp/en/index.html
Postmodernism and Myths about Great Artists
complete when Van Gogh lived in Montmartre. 68 When Van Gogh takes the train to Arles (in February 1888 presumably), he passes an 1895 railway accident, and his sun-drenched landscape The Harvest (painted in June 1888) is visible through the carriage
The Origins of Argentine Comics between the United States and Europe (1907–1945)
Amadeo Gandolfo and Pablo Turnes
Europe, especially to the United Kingdom, cities had grown, railway lines had spread throughout the country and the upper classes had acquired the customs, mores and consumption habits of the European bourgeoisie, including a particular obsession with
The Language of Paris Railways, 1870–1914
By tracking railway language through periodicals and poetry, this article examines the words and images used to make sense of Paris's new subway and streetcars between 1870 and 1914. It proposes a new threefold approach to understanding the appropriation of technology, which reworks its agents, sites, and chronologies. It maintains that appropriation takes both material and symbolic forms, and that appropriation processes transform both appropriated objects and their cultural contexts. Language anchors appropriation as it operates through circulating texts. For Paris, railways were both transportation technologies and versatile tools for making meaning. Railways set spaces, customs, identities, and images adrift, which traditionalists found threatening, progressives found promising, and avant-gardists found inspiring. Fitting Paris with railways required both reimagining and rebuilding the city, and reshaping what railways could be. The article concludes that appropriation is neither linear nor complete, but rather an ongoing and unfinished negotiation of the meaning of technologies.
God created the Earth, but the Dutch created the Netherlands, albeit with only a limited role for the railway. Any railway museum in this country invented by and dependent on hydraulic engineering must creatively solve the problem of portraying a technology of mobility which was not central to the Waterstaat (hydro-engineering) identity and the nation’s sociotechnological construction, but one which initially was secondary and subsidiary and, above all, delayed. On the face of it, the story to be told here appears to be that of how, in a northwestern part of Europe where thorough industrialization was late to come, railway-based mobility established itself against the omnipresence of shipping and evolved from seaport-catering surface logistics into an integral element of everyday transportation in twentieth-century Netherlands. The Utrecht Spoorwegmuseum (railway museum) impressively shows that this is not even half the truth, behind which might be, at best, the grumbling resentment of an 1890 boatman.
Comics, Memory, and Cultural Representations of 17 October 1961
. Baetens terms these motifs “etymons,” which he describes as “defining visual figurations through which a work can be read in its entirety.” 51 In the case of Octobre noir , one defining etymon is the railway bridge. Prior to the demonstration, in the