ABSTRACT
When people respond with recognition and pleasure to cinematic representations of the spaces they inhabit in the ‘real’ world, this should not be dismissed with academic arguments about our incapacity to know the world except through discourse. At the same time, the act of filming any space is clearly an act of discourse production (see note 4), prey to complex elision, condensation and repression and as dependent on previous acts of discourse production as on relationships with the ‘real’ world.
