ABSTRACT
Films and taxis conjoin movement and stagnation. They realize distinctive orders of bodies in space, ones that differ from the quotidian rooms, buildings, and expanses most of us typically occupy. Comings and goings, separation and togetherness assume a characteristic organization in the cinema and the cab. Both kinds of spaces constitute heterotopias. 1 Such forms spark otherness, but also incite repetitions of what already exists. The effects of these mechanisms evince the force of numerous factors over and above the energies that the heterotopias themselves put into play, which, after all, comprise elements of a much larger whole.
