By Steven Cohan, Ina Rae Hark
The line is an everlasting topic in American tradition; from The Wizard of oz. to Thelma and Louise , and from Bonnie and Clyde to common Born Killers , cinematic portrayals of highway trips always captivate the yankee mind's eye. yet what's so American in regards to the style and why does it translate good to a couple international locations yet now not others? In the line motion picture publication , Steven Cohan and Ina Rae Hark gather essays that try and solution those, in addition to different questions, approximately one of many key genres of recent cinema. equipped into 3 sections, the 1st, Mapping barriers , comprises essays that cartoon huge subject matters and ideological tropes of the style. the next part, American Roads , additional historicizes the problems raised in part one and lines the continuous reinvention of the style in Hollywood movie from the early Nineteen Forties to the tip of the Nineteen Eighties. exchange Routes , the ultimate element of essays, concentrates on street motion pictures that leave from the yank panorama or that commute on its cultural margins to discover why the line motion picture is so pertinent to people who are alienated or marginalized through society. The essays talk about a wide variety of movies, together with effortless Rider, Thelma and Louise, The Grapes of Wrath, It occurred One evening, swifter Pussycay! Kill! Kill!, The Adventures of Priscilla, Queen of the barren region, and my very own inner most Idaho. With forty four stills from the flicks mentioned, this attention-grabbing assortment is the main complete quantity dedicated completely to the style of the line motion picture.
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Additional resources for The Road Movie Book
Capra flirts with this when he shoots between Gable and Colbert in their separate beds, the “Walls of Jericho” between them. In this way Vigo’s film anticipates much of what will happen in the postwar period, where the road will take on a number of visionary possibilities only briefly explored in the prewar films. Hence at the conclusion of L’Atalante, when the camera rises into the air, no doubt on board a helicopter or autogyro, the road has ceased to be a way from one place to another, one image to another, but has become a dermal tracing in which the image becomes the volume through which variable times and perspectives overlap.
Nevertheless it shares many characteristics with the other road films. Like most of them, it is centrally concerned with a heterosexual couple and their vicissitudes in transit. But, unlike those other films, this couple is already married. Like Ford’s film, Vigo’s is very much committed to a realist account of a specific class condition, and, also like Ford’s film, L’Atalante has affinities with the documentary (Vigo’s A Propos de Nice, 1930, is of course a documentary of the vacationing bourgeoisie).
3 (1990): 52–9. Corrigan, Timothy. A Cinema Without Walls: Movies and Culture after Vietnam. New Brunswick, NJ: Rutgers University Press, 1991. Dargis, Manohla. ” Sight and Sound 3 (1991): 14–18. Hill, Lee. Easy Rider. London: BFI, 1996. Kerouac, Jack. On the Road. New York: Penguin, 1957. Laderman, David. 1–2 (1996): 41–57. 2 (1991–2): 20–31. Morrison, Patt. ” Los Angeles Times (July 22, 1991), Home Edition: B5+. Los Angeles Times Online. August 9, 1996. Porter, Mark. 2 (1995): 14–15, 22. Rainer, Peter.