Travel Reference
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Fig. 17.6.
. . . and alight in Rotterdam (courtesy of Exterminating Angel Films).
Fig. 17.7.
Visiting the Japanese Gardens in Liverpool (courtesy of Exterminating Angel Films).
the screen, there were big screen televisions, do
you really think that's what it was?' But that is
what the point was: anything that you're told
you just take in as truth, you don't ever
evaluate it and you should start evaluating it.
(Le Cain, 2003)
that make up these spaces (1991, p. 97). Given
that these very contradictions and tensions lie at
the heart of what, thematically and conceptu-
ally,
Three Businessmen
is all about, audience
responses such as those Cox and Davies
describe above are suggestive of a critically
muted, and overly spectacularized engagement
with the fi lm's representational spaces. The
viewer (or at least these particular viewers) seem
to navigate the cinematic spaces of
Three Busi-
nessmen
in the same abstract and disorientated
Observations such as these lend support to
Lefebvre's critique of fi lm as an 'incriminated
medium', which, in its abstraction from the
experiential fl ux of everyday urban spaces, is
ill-equipped to reveal the inherent contradictions
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