Abstract

Part way through Stephen Frears’s film, The Queen , the monarch undergoes an extraordinary, magical experience whilstjourneying into the Scottish landscape that surrounds Balmoral, her grandancestral holiday home. Despite the anxious offers from her estate workersto chauffeur her, she drives alone into the mountains and proceeds to breakdown in the centre of a fast flowing river. While awaiting help a strangeevent occurs: a stag appears magically as if from nowhere and, unable tohide her admiration for the beast, the Queen gently utters the words, ‘Oh!You beauty’ before the animal disappears as mysteriously as it arrived.Framed in a painterly way, and providing a marked punctuation to the urbansettings that have dominated the film so far, this short sequence presents aseries of sumptuous landscape images that elicit a spectator response whichis instinctive and intuitive. When analysed using an aesthetic approach – amethodology one might use for the examination of a painting – anemotional relationship is mobilised between the spectator and the film: asentiment not necessarily available through a narrative reading