London By Patrick Keiller
As advised by my Tutor, I got, not without some difficulty, the DVD of Patrick Keiller's 1994 film "London".
Patrick Keiller is an English director, who is cited as an exponent of psychogeography, and "London "is an excellent example of this.
The two protagonists never enter the field of the objective: the narrator, a sailor licensed in London, visiting his friend-lover, as a voiceover and the friend-lover-narrated Robinson, a "self-taught" university professor, at risk of "redundancy".
Robinson is cited by the narrator as the one who plans and guides these "missions" in places, sometimes unlikely, of the English metropolis.
Robinson's purpose (whose name and behaviour recall the story of the homonymous Crusoe in Defoe's novel) is to track down places that have a "meaning": sometimes they have kept it, sometimes they are just a place and the untied legacy of a different past (for example the place where Edgar Alla Poe wrote "Man of the Crowd", replaced by a closed shop).
This continuous search for meanings that go beyond the current place arises the development of the psychogeographic theme of the film: Robinson is a wanderer, a flaneur, who drifts through the city and its suburbs in search of the intangible, of memories, of a history that has been lost over time or in urban changes.
The quotations of writers who have links with psychogeography and flâneurism are continuous: Verlaine, Rimbaud, Baudelaire, Defoe, Edgar Allan Poe and Benjamin.
The unfolding of the film "bounces" between past memories and meanings and the bursting, in the visual field and in the narration, of current events, such as the disputed ceremonies presided over by the Royal Family, political demonstrations, election days, and bomb attacks.
Mike Hodges, screenwriter, director, playwright and television producer, in his preface "The Secret City", writes: "...While Mr Keiller weaves his film with multiple strands from the past, he always brings it back to the present - to a city politically, economically and culturally ill..... "
More than the development of a plot, it is an audio-video flow in which the viewer is involved and enters into symbiosis with the protagonists, psychogeographically wandering around London and grasping the meanings of places, buildings, artefacts and urban landscapes, beyond the pure visual stimulus of the "hic et nunc".
The visual structure of the film is particular and totally based on still video footage, taken with the video camera installed on a tripod. The result is similar to the projection of a series of photographs but at the same time with the visual field animated by moving subjects, passers-by, cars, and animals.
In only one case, the field of view also moves, because the tripod is installed on an escalator in a shopping centre.
"London" is more a photographic projection than a film, and this peculiarity brings me closer to the choice of points of view and composition. It is an experience that will be very useful for my next drift.
However, Robinson's psychogeographic choices are triggered by previous studies, which condition and make drift too conscious to be the "pure" drift defined by Debord.
Robinson does not let himself go, he does not wander in the full meaning of the word.
Robinson knows the forgotten story, the hidden meaning of places. He goes there with the specific intent of recovering them, or at least to be there and say "I wanted to be here, I know why I'm here".
The comparison between conscious and unconscious drift is the theme I intend to develop in my critical review. Having seen this film was very useful for this purpose.
Patrick Keiller's films "London" and "Robinson in Space" are rightfully considered works of psychogeographic inspiration for several reasons. Both films explore the concept of urban space and offer a critical reflection on the city, its history, its architecture and the social dynamics that characterize it. Here are a few elements that make these films relevant from a psychogeographic point of view:
Urban Space Exploration: Both films focus on the exploration of London and its suburbs. Shooting focuses on specific locations, streets, buildings and cityscapes, providing visual immersion in the urban environment. This exploration of places is central to psychogeography, which is based on the practice of drift and flâneurism, exploring the urban environment in a casual and intuitive way.
Historical Research and Criticism: Keiller's films feature in-depth historical research and critical narrative of the urban environment. Through narrative commentary and visual imagery, the films explore the social, political and economic changes that have shaped the city over time. This critical and historical approach is a central element of psychogeography, which seeks to understand the relationships between urban space and social context.
Elements of drift and flâneurism: Elements of drift and flâneurism emerge in Keiller's films, as the main characters move through the city in a non-linear and unpredictable way. Their movements and casual observations reveal hidden aspects of the city and allow us to grasp the complexity and nuances of urban spaces. This approach mirrors the psychogeographic practice of drifting, in which the individual lets himself be guided by instinct and casual exploration.
Analysis of places and social relationships: Keiller's films are not limited to a mere visual description of urban spaces, but also analyze the social dynamics and relationships that develop within them. Through narrative commentary, issues such as capitalism, gentrification, politics, and social alienation are highlighted. This critical analysis of places and social dynamics connects with the concerns of psychogeography, which seeks to understand the effect of urban space on human psychology and behavior.
In summary, Patrick Keiller's films "London" and "Robinson in Space" are considered psychogeographically inspired due to their critical exploration of urban space, analysis of social dynamics, and practice of drift and flâneurism. Through these films, Keiller offers an inspiring perspective on the city and invites the viewer to reflect on the complex relationship between space, history, politics and urban identity.