我走我路

乔安（温蒂·希勒WendyHiller饰）是罕见的那种非常有自主的女人，她懂得自己的需求，亦懂得为了满足自己的需求，她需要付出怎样的代价。某日，她登上了前往苏格兰的邮轮，她要去见她的未婚夫——一个腰缠万贯但是年龄足以做她的父亲的男人。虽然乔安对这个男...

Back to the train, but at the same time something completely different

industrial workers/feudal lairs

witty Hollywood comedies in the 30s, romantic protagonist starting off as antagonist

starting in one way, ending in another way

opening credits section: audience as a passenger, fable of locomotion (fables of modernity), mobility, speeding up until she gets on the train to Scotland, names branded onto a lot of things, film is an industrial product/that the rest of the film try to make us forget

Top hat transition into smoke coming out of pipe, human/machine

Gaelic/curse written in modern English, does he need someone from the outside, individuality/archetype in a myth, modernity/curse

climate (technological sophistication in the gale, successfully conveying the turbulence but still in focus), landscape, parable of the folk way

on the bus, the fish do not recognize the men so they won't let themselves be caught

phonebox under the waterfall, drowned out by the landscape, making a phone call/lyrical quality of the business language

shot on location/shot in London (studio), not an organic product, pure documentary aesthetic, but an industrial product, try to look like a seamless whole

family is an odd unit in English/Scotland like to like comes together

who owns Scotland/anglosaxonization of Scotland

the status of the songs: associated with Robert Burns, the great lyrical poet

the dress: some kind of metonymy going on, plastic morphs into a projection surface, is she suffocating inside, the face also stop becoming hers

timetable and the dress, something is morphing and giving away

dream sequence: little homemade landscape, lo-tech, clumsy and amateurish, the eeriness of the sounds/voice-over, collage-y

filmmaking style changes when they reach Scotland

fantastic (Todorov): explained but remains eerie and strange