Mobility has long been a defining feature of modern societies, yet remarkably little attention has been paid to the various 'stopping places'_hotels, motels, and the like_that this mobility presupposes. If the paradoxical qualities of fixed places dedicated to facilitating movement have been overlooked by a variety of commentators, film-makers have shown remarkable prescience and consistency in engaging with these 'still points' around which the world is made to turn. Hotels and motels play a central role in a multitude of films, ranging across an immensely wide variety of genres, eras, and national cinemas. Whereas previous film theorists have focused on the movement implied by road movies and similar genres, the outstanding contributions to this volume extend the recent engagement with space and place in film studies, providing a series of fascinating explorations of the cultural significance of stopping places, both on screen and off. Ranging from the mythical elegance of the Grand Hotel, through the uncanny spaces of the Bates motel, to Korean 'love motels,' the wealth of insights, from a variety of theoretical perspectives, that this volume delivers is set to change our understanding of the role played by stopping places in an increasingly fluid world.

长期以来，移动性是现代社会的一个决定性特征，然而，人们很少关注这种移动性所预设的各种 "停留的地方"--旅馆、汽车旅馆等等。如果说致力于促进流动的固定场所的矛盾性被各种评论家所忽视，那么电影制作人在参与这些 "静止点 "方面表现出了非凡的预见性和一致性，而世界就是围绕这些静止点而转动的。酒店和汽车旅馆在众多的电影中扮演着核心角色，涉及到各种类型、时代和国家电影的巨大范围。以前的电影理论家们专注于公路电影和类似类型电影所隐含的运动，而本卷的杰出贡献扩展了最近电影研究中对空间和地点的参与，提供了一系列对停止地点的文化意义的迷人探索，无论是在屏幕上还是在屏幕下。从大饭店的神话般的优雅，到贝茨汽车旅馆的不可思议的空间，再到韩国的 "爱情汽车旅馆"，本卷从不同的理论角度提供了丰富的见解，将改变我们对停靠点在一个日益流动的世界中所起作用的理解。