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
HD
