The elevator, like the train and other icons of automated movement, would seem to hold a natural affinity with cinema, a kind of machine for making non-habitual space and time. Elevators displace human activity and effort, opening up instead a range of other types of encounters and types of mobility. As time-based mediums, elevators are zones of duration where the potential for change is made manifest. Unlike trains, however, elevators have not received or drawn critical interest on the part of cinema studies. This paper looks at the enduring verticality of cinematic elevators through a Bergsonian sense of duration as “infidelity to the self”, presenting a close reading of the elevator murder in Brian DePalma’s Dressed to Kill (1980) and a broader consideration of the elevator in cinema and urban culture.
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机译：像火车和其他自动运动图标一样，电梯似乎与电影院有着天生的联系，电影院是一种用于制造非惯性空间和时间的机器。电梯取代了人类的活动和精力，而开放了一系列其他类型的相遇和活动类型。作为基于时间的媒介，电梯是持续时间的区域，在这些区域中，潜在的变化已被证明。但是，与火车不同，电梯在电影学方面并未引起人们的关注或引起人们的极大兴趣。本文通过柏格森式的“不忠于自我”的持续时间来观察电影电梯的持久垂直性，展示了布莱恩·德帕尔玛（Brian DePalma）的《打扮成杀手》（Dressed to Kill）（1980）中对电梯谋杀案的细读，以及电影院电梯的更广泛考虑和城市文化。
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