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This close reading of the film The Wind (Victor Sjöström, 1928), from Dorothy Scarborough's novel, attempts to analyze the film's construction of space, mapping the gradual merger between subjective and objective, corresponding to the heroine's (Lillian Gish) increasing degree of psychic instability, and culminating in a violent storm at night, where all boundaries are being transgressed. Through references to Scandinavian landscape portrayal in the 1910s cinema as well as to Western or Gothicdoi:10.3402/jac.v1i0.4641 fatcat:hjbizchoabg4lobm2urduzdvra