Louis Bayman is a lecturer in Film Studies at the University of Southampton. He holds a PhD from King’s College, London and has published various articles on popular genres especially in relation to Italian cinema, serial killer cinema, film aesthetics and retro and nostalgia. He is author of the monograph The Operatic and the Everyday in Postwar Italian Film Melodrama (2014) and co-editor of the collection Popular Italian Cinema. Natália Pinazza is a lecturer in Portuguese Studies at the University of Exeter. She holds a PhD and MA from University of Bath and a BA from University of São Paulo. She undertook a UNESCO fellowship at the University of Ottawa, Canada. Pinazza’s previous publications include New Approaches to Lusophone Culture, Journeys in Argentine and Brazilian Cinema: Road Films in a Global Era, World Cinema Directory: Brazil, and World Film Locations: São Paulo. She has published in journals such as the Journal of Latin American Cultural Studies and Alphaville: Journal of Media and Film Studies.

From the interplanetary travel and alien encounters of science fiction films to the exploratory drive and spiritual growth associated with road movies, journeys both actual and metaphorical have been central to the motion picture medium since its origins as a technological curiosity over a century ago. The contributors to this appropriately globe-trotting, border-crossing collection — with chapters focusing on migrant narratives in Romanian cinema, diasporic themes in Indian filmmaking, and everything in-between — make the case that the story of the movies is and has always been the story of moving. In an age of mass deportations and international travel bans, Journeys on Screen reminds us of the need for cross-cultural connectedness and cosmopolitan understanding of other people and places, and is sure to inspire a restorative wanderlust in its readers.

• IntroductionSection 1: Mapping Cinematic Journeys: Chronotopes of JourneysChapter One: Global Visions: Around-the-World Travel and Visual Culture in Early Modernity, Tiago de LucaChapter Two: Brief Encounters: The Railway Station on Film, Lucy MazdonChapter Three: Diasporic dreams and shattered desires: displacement, identity and tradition in Heaven on Earth (Deepa Mehta 2008), Clelia CliniChapter Four: Chronotopic ghosts and quiet men: José Luis Guerín's Innisfree, Michael PigottChapter Five: Memories, Notebooks, Roads: The Essayistic Journey in Time and Space, Adam Ludford FreemanSection 1a: Expanding Europe: Intersistial Production and Border-Crossing in Easter European CinemaChapter Six: Shadows of Unforgotten Ancestors: Representations of Estonian Mass Deportations of the 1940s in In the Crosswind (2014) and Body Memory (2011), Eva NäripeaChapter Seven: The Holocaust and the Cinematic Landscapes of Postmemory in Lithuania, Hungary and Ukraine, Maurizio CinquegraniChapter Eight: Hesitant Journeys: fugitive and migrant narratives in the new Romanian Cinema, László StrauszChapter Nine: Women on the Road: Representing Female Mobility in Contemporary Hungarian-Romanian Co-Productions, Hajnal KirálySection 2: Form and Narrative in Journey GenresChapter Ten: The Sense of an Ending: Music, Time and Romance in Before Sunrise, Carlo CenciarelliChapter Eleven: Moving in Circles: Kinetic Elite and Kinetic Proletariat in the ‘End of the World’ Films, Ewa MazierskaChapter Twelve: Transnational productions and regional funding: Border-crossing, European locations and the case of contemporary horror, Stefano BaschieraSection 2a: The Politics of the Road MovieChapter Thirteen: Colonialism in Latin American Road Movies, Natália PinazzaChapter Fourteen: Spaces of failure: The gendering of neoliberal mobilities in the U.S. indie road movie, Anna CooperChapter Fifteen: Sic transit: the serial killer road movie, Louis BaymanNotes on Contributors