THE RAILWAY STATION CHRONOTOPE in the Bourne Ultimatum

This episode will build upon on the airport as chronotope from a couple of weeks ago. But this time we will be discussing the concepts of spatial traversal and the means of locomotion in relation to the chronotope of the railway station. This will be illustrated with reference to The Bourne Ultimatum. It will be shown how the space of London’s Waterloo Station is represented in the movie as illustrating a particular kind of spatial logic grounded on the spatial morphology of the railway station. The relationship between foreground and background and between opacity and transparency in the scenes from the movie will be examined to establish the various ways in which our sense of space is augmented by the representational protocols deployed in the film, including camera movement, the cut between scenes in different locations, and the overall ambience of the Waterloo Station in general. At the heart of the discussion will be an illustration of spatial analysis that enlivens space as a critical vector of interpretation on an equal footing with characterization, action, and other elements of the filmic representation.

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Suggested Readings

Robin Winks and Gail McGrew “Eifrig, Spy Fiction – Spy Reality: From Conrad to le Carré,” Soundings: An Interdisciplinary Genre 76: 2/3 (1993): 221-224.

David Seed, “Spy Fiction,” in The Cambridge Companion to Crime Fiction, edited by Martin Priestman, (Cambridge: Cambridge University Press, 2006), 115-134.

Allan Hepburn, “Detectives and Spies,” in The Cambridge Companion to the Twentieth-Century Novel, edited by Robert L. Caserio (Cambridge: Cambridge University Press, 2009), 210-222.

Clive Bloom, Spy Thrillers: From Buchan to le Carré, (London: Palgrave Macmillan, 1990).

David Trotter, “Women Spies,” in The Literature of Connection: Signal, Medium, Interface, 185-1950, (Oxford: Oxford University Press, 2020).

Видео THE RAILWAY STATION CHRONOTOPE in the Bourne Ultimatum канала Critic.Reading.Writing with Ato QUAYSON