Abstract
Patrick Keiller, in his essay entitled The Poetic Experience of Townscape and Landscape, notes that the “desire to transform the world is not uncommon, and there are a number of ways of fulfilling it. One of these is by adopting a certain subjectivity, aggressive or passive, deliberately sought or simply the result of a mood, which alters experience of the world, and so transforms it”. For the British director, the way to transform the world is filmmaking. The English landscapes shown in his films, and especially urban areas, are dazzling with the almost complete absence of human figures. The (a)synchrony of image and sound shapes a kind of “third dimension” in the viewer’s mind, a kind of “space in between”. This, in turn, becomes a mental landscape structured by the logic of associations and understatements that can be read like a palimpsest. The article focuses on this way of reading urban space, using the example of the film London.
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