Road Movie - Wikipedia
Road Movie - Wikipedia
Road Movie - Wikipedia
There are two main narratives: the quest and the outlaw chase.[8] In the quest-style
film, the story meanders as the characters make discoveries (e.g., Two-Lane
Blacktop from 1971).[8] In outlaw road movies, in which the characters are fleeing
from law enforcement, there is usually more sex and violence (e.g., Natural Born
Killers from 1994).[8] Road films tend to focus more on characters' internal conflicts
and transformations, based on their feelings as they experience new realities on
their trip, rather than on the dramatic movement-based sequences that predominate
in action films.[1] Road movies do not typically use the standard three-act structure
used in mainstream films; instead, an "open-ended, rambling plot structure" is
used.[5]
The road movie keeps its characters "on the move", and as such the "car, the
tracking shot, [and] wide and wild open space" are important iconography elements,
similar to a Western movie.[9] As well, the road movie is similar to a Western in that
road films are also about a "frontiersmanship" and about the codes of discovery
:
(often self-discovery).[9] Road movies often use the music from the car stereo,
which the characters are listening to, as the soundtrack[10] and in 1960s and 1970s
road movies, rock music is often used (e.g., Easy Rider from 1969 used a rock
soundtrack [11] of songs from Jimi Hendrix, The Byrds and Steppenwolf).
While early road movies from the 1930s focused on heterosexual couples,[6] in post-
World War II films, usually the travellers are male buddies,[4] although in some
cases, women are depicted on the road, either as temporary companions, or more
rarely, as the protagonist couple (e.g., Thelma & Louise from 1991).[9] The genre can
also be parodied, or have protagonists that depart from the typical heterosexual
couple or buddy paradigm, as with The Adventures of Priscilla, Queen of the Desert
(1994), which depicts a group of drag queens who tour the Australian desert.[9]
Other examples of the increasing diversity of the drivers shown in 1990s and
subsequent decades' road films are The Living End (1992), about two gay, HIV-
positive men on a road trip; To Wong Foo, Thanks for Everything! Julie Newmar
(1995), which is about drag queens, and Smoke Signals (1998), which is about two
Indigenous men.[8] While rare, there are some road movies about large groups on
the road (Get on the Bus from 1996) and lone drivers (Vanishing Point from 1971).
Road movies are blended with other genres to create a number of subgenres,
including: road horror (e.g., Near Dark from 1987); road comedies (e.g., Flirting
with Disaster from 1996); road racing films (e.g., Death Race 2000 from 1975) and
rock concert tour films (e.g., Almost Famous from 2000).[8] Film noir road movies
include Detour (1945), Desperate, The Devil Thumbs a Ride (1947) and The Hitch-
Hiker (1953), all of which "establish fear and suspense around hitchhiking", and the
outlaw-themed film noirs They Live by Night (1948) and Gun Crazy.[8] Film noir-
influenced road films continued in the neo noir era, with The Hitcher (1986),
Delusion (1991), Red Rock West (1992), and Joy Ride (2001).[8]
:
Even though road movies are a significant and popular genre, it is an "overlooked
strain of film history".[5] Major genre studies often do not examine road movies,
and there has been little analysis of what qualifies as a road movie.[14]
United States
The road movie is mostly associated with the United States, as it focuses on
"peculiarly American dreams, tensions and anxieties".[14] US road movies examine
the tension between the two foundational myths of American culture, which are
individualism and populism, which leads to some road films depicting the open road
as a "utopian fantasy" with a homogenous culture while others show it as a
"dystopian nightmare" of extreme cultural differences.[15] US road movies depict
the wide open, vast spaces of the highways as symbolizing the "scale and notionally
utopian" opportunities to move up upwards and outwards in life.[16]
Australia's vast open spaces and concentrated population have made the road movie
a key genre in that country, with films such as George Miller's Mad Max films, which
were rooted in an Australian tradition for films with "dystopian and noir themes
with the destructive power of cars and the country’s harsh, sparsely populated land
mass".[22] Australian road movies have been described as having a dystopian or
gothic tone, as the road the characters travel on is often a "dead end", with the
journey being more about "inward-looking" exploration than reaching the intended
location.[23] In Australia, road movies have been called a "complex metaphor"
which refers to the country's history, current situation, and to anxieties about the
future.[23] The Mad Max films, including Mad Max, The Road Warrior and Mad
Max Beyond Thunderdome, "have become canonical for their dystopic reinvention
of the outback as a post-human wasteland where survival depends upon manic
driving skills".[8]
Canada
Canada also has huge expanses of territory, which make the road movie also
common in that country, where the genre is used to examine "themes of alienation
and isolation in relation to an expansive, almost foreboding landscape of seemingly
endless space", and explore how Canadian identity differs from the "less humble and
self-conscious neighbours to the south", in United States.[25] Canadian road films
include Donald Shebib's Goin' Down the Road (1970), three Bruce McDonald films
(Roadkill (1989), Highway 61 (1991), and Hard Core Logo (1996), a mockumentary
about a punk rock band's road tour), Malcolm Ingram's Tail Lights Fade (1999) and
Gary Burns' The Suburbanators (1995). David Cronenberg's Crash (1996) depicted
drivers who get "perverse sexual arousal through the car crash experience", a subject
matter which led to Ted Turner lobbying against the film being shown in US
theatres.[8]
Europe
The German filmmaker Wim Wenders explored the American themes of road
movies through his European reference point in his Road Movie trilogy in the mid-
1970s. They include Alice in the Cities (1974), The Wrong Move (1975), and Kings of
the Road (1976).[27][28] All three films were shot by cinematographer Robby Müller
:
and mostly take place in West Germany. Kings of the Road includes stillness, which
is unusual for road movies, and quietness (except for the rock soundtrack).[29]
Other road movies by Wenders include Paris, Texas and Until the End of the
World.[30] Wender's road movies "filter nomadic excursions through a pensive
Germanic lens" and depict "somber drifters coming to terms with their internal
scars".[8]
France has a road movie tradition than stretches from Bertrand Blier's Les
Valseuses (1973) and Agnès Varda's Sans toit ni loi (about a homeless woman) to
1990s films such as Merci la vie (1991) and Virginie Despentes and Coralie Trinh
Thi's Baise-moi (a controversial film about two women revenging a rape), to 2000s
films such as Laurent Cantet's L'emploi du temps (2001) and Cédric Kahn's Feux
rouges (2004).[31] While French road movies share the US road movie's focus on
the theme of individual freedom, French movies also balance this value with equality
and fraternity, according to the French Republican model of liberty-equality-
fraternity.[32]
Neil Archer states that French and other Francophone (e.g., Belgium, Switzerland)
road films focus on "displacement and identity", notably in regards to maghrebin
immigrants and young people (e.g., Yamina Benguigui's Inch'Allah Dimanche
(2001), Ismaël Ferroukhi's La Fille de Keltoum (2001) and Tony Gatlif's Exils
(2004).[33] More broadly, European films are tending to use imagery of border-
crossing and focusing on "marginal identities and economic migration", which can
be seen in Lukas Moodysson's Lilja 4-ever (2002), Michael Winterbottom's In This
World (2002) and Ulrich Seidl's Import/Export (2007).[33] European road movies
also examine post-colonialism, "disclocation, memory and identity".[33]
Road movies from Spain have a strong American influence, with the films
incorporating the road movie-comedy genre hybrid made popular in US films such
as Peter Farrelly's Dumb and Dumber (1994). Spanish films including Los anos
barbaros, Carretera y manta, Trileros, Al final del Camino, and Airbag, which has
been called the "most successful Spanish road movie of all time".[34] Airbag, along
with Slam (2003), El mundo alrededor (2006) and Los managers, are examples of
Spanish road films that, like US movies such as Road Trip, uses the "road movie
genre as a narrative framework for...gross-out sex comedy".[35] The director of
Airbag, Juanma Bajo Ulloa, states that he aimed to make fun of the road movie
genre as established in North America, while still using the metamorphosis through
road trip narrative that is popular in the genre (in this case, the main male character
rejects his upper class girlfriend in favour of a prostitute he meets on the road).[36]
Airbag also uses Spanish equivalents to the stock road movie setting and
iconography, depicting "deserts, casinos and road clubs" and use the road movie
action sequences (chases, car explosions, and crashes) that remind the viewer of
similar work by Tony Scott and Oliver Stone.[36]
:
A second subtype of Spanish road movies is more influenced by the female road
movies from the US, such as Martin Scorsese's Alice Doesn't Live Here Anymore
(1974), Jonathan Demme's Crazy Mama (1975), Ridley Scott's Thelma & Louise
(1991), and Herbert Ross' Boys on the Side (1995), in that they show a "less
traditional" and more "visible, innovative, introspective, and realistic" type of
woman onscreen.[37] Spanish road movies about women include Hola, estas, sola,
Lisboa, Fugitivas, Retorno a Hansala, and Sin Dejar Huella address social issues
about women, such as the "injustice and mistreatment" that women experience
under "authoritarian patriarchal order."[38] Fugitivas depicts an American road
movie genre convention: the "disintegration of the family and the community" and
the "journey of transformation", as it depicts two fugitives on the run, whose distrust
fades as the two women learn to trust each other from their adventures on the
road.[39] The images in the film are blend of homage to US road movie conventions
(gas stations, billboards) and "recognizable Spanish types", such as the "embittered
drunkard".[40]
Other European road films include Ingmar Bergman's Wild Strawberries (1957),
about an old professor travelling the roads of Sweden and picking up hitchhikers
and Jean-Luc Godard's Pierrot le fou (1965) about law-breaking lovers escaping on
the road. Both of these films, as well as Roberto Rossellini's Voyage in Italy (1953)
and Godard's Weekend (1967) have more "existential sensibility" or pauses for
"philosophical digressions of a European bent", as compared with American road
films.[8] Three Men and a Leg (1997) features several sketches from filmmakers and
producers' Aldo, Giovanni & Giacomo's previous comedy productions overlaid with
the rest of the movie's road-trip and romantic comedy atmosphere.[41] Other
European road films include Chris Petit's Radio On (1979), a Wim Wenders-
influenced film set on the M4 motorway; Aki Kaurismäki's Leningrad Cowboys Go
America ( 1989), about a fictional Russian rock band which travels to the US; and
Theo Angelopoulos' Landscape in the Mist, about a road trip from Greece to
Germany.
Latin America
Road movies made in Latin America are similar in feel to European road films.[8]
Latin American road movies are usually about a cast of characters, rather than a
couple or single person, and the films explore the differences between urban and
rural regions and between north and south.[8] Luis Buñuel's Subida al Cielo
(Mexican Bus Ride, 1951), is about a poor rural person's trip into a big city to help
his mother, who is dying. The road trip on this film is shown as a "carnivalesque
pilgrimage" or "travelling circus", an approach also used in Bye Bye Brazil (1979,
Brazil), Guantanamera (1995, Cuba), and Central do Brasil (Central Station, 1998,
Brazil).[8] Some Latin American road movies are also set in the era of conquest,
such as Cabeza de Vaca (1991, Mexico). Movies about outlaws escaping from justice
:
include Profundo Carmesí (Deep Crimson, 1996, Mexico) and El Camino (The
Road, 2000, Argentina).[8] Y tu mamá también (And Your Mother Too, 2001,
Mexico) is about two young male buddies who have sexual adventures on the
road.[8]
Movies involving road movie genre while being rejected by mainstream media,
gained huge popularity in Russian art cinema and surrounding post-Soviet cultures,
slowly building their way into international film festivals. Well-known examples are
My Joy (2010), Bummer (2003), Major (2013), and How Vitka Chesnok Took
Lyokha Shtyr to the Home for Invalids (2017). Some other movies incorporate a
large portion of road movie style, for example Morphine (2008), Leviathan (2014),
Cargo 200 (2007), Donbass (2018).
With themes ranging from crime, corruption and power to history, addiction and
existence, road movies became an independent part of cinematic landscape. From
the strong flow of existentialism, to the black comedy style, the road movie
experienced a new revival. Most precious are pieces from Sergei Loznitsa, in his
early work My Joy (2010) he used black noir style to tell the story of people falling
together with destruction of governments after the fall of the Soviet Union. In his
later work Donbass (2018), he takes an opposing style, turning to black comedy and
satire to underline actual war tragedies in the Russo-Ukrainian War.
India
Indian screens saw a series of road movies with experimental filmmaker Ram Gopal
Varma's works such as Kshana Kshanam. Rachel Dwyer, a reader in world cinema
at the University of London-Department of South Asia, marked Varma's
contribution into the new-age film noir.[42][43] The film received critical reception
at the Ann Arbor Film Festival, which led to a series of genre-benders like Mani
Ratnam's Thiruda Thiruda, and Varma's Daud, Anaganaga Oka Roju and
Road.[44] Subsequently 21st century bollywood movies witnessed a surge of motion-
pictures such as Road, Movie, nominated for the Tokyo Sakura Grand Prix Award,
the Tribeca Film Festival,[45][46] and the Generation 14plus at the 60th Berlin
International Film Festival in 2010.[47][48] Liars Dice explores the story of a young
mother from a remote village who, going in search of her missing husband, goes
missing, the film examines the human cost of migration to cities and the
exploitation of migrant workers. It was India's Official Entry for the Best Foreign
Language Film for the 87th Academy Awards.[49][50] It won special prize at Sofia
International Film Festival.[51][52] In Karwaan, the protagonist is forced to set out
on a road trip from Bengaluru to Kochi after he loses his father in an accident, but
the body delivered to him is of the mother of a woman in another state.[53]
:
Ryan Gilbey of The Guardian was broadly positive about Zoya Akhtar's Zindagi Na
Milegi Dobara; he wrote, "It's still playing to full houses, and you can see why. Slick
it may be. But tourist board employees representing the various Spanish cities
flattered in the movie are not the only ones who will come out grinning", and that he
found the movie "stubbornly un-macho" for a buddy film.[54] Piku tells the story of
the short-tempered Piku Banerjee (Deepika Padukone), her grumpy, aging father
Bhashkor (Amitabh Bachchan) and Rana Chaudhary (Irrfan Khan), who is stuck
between the father-daughter duo, as they embark on a journey from Delhi to
Kolkata.[55] In Nagesh Kukunoor's children's film Dhanak a blind kid and his sister
set off alone on a 300 km journey traversing testing Indian terrain from Jaislamer to
Jodhpur, the film won the Crystal Bear Grand Prix for Best Children's Film, and
Special Mention for the Best Feature Film by The Children's Jury for Generation
Kplus at the 65th Berlin International Film Festival[56] Finding Fanny is based on a
road trip set in Goa and follows the journey of five dysfunctional friends who set out
on a road trip in search of Fanny.[57] The Good Road is told in a hyperlink format,
where several stories are intertwined, with the center of the action being a highway
in the rural lands of Gujarat near a town in Kutch.[58]
Africa
Several road movies have been produced in Africa, including Cocorico! Monsieur
Poulet (1977, Niger); The Train of Salt and Sugar (2016, Mozambique); Hayat
(2016, Morocco); Touki Bouki (1973, Senegal) and Borders (2017, Burkina
Faso).[59][60]
History
The genre has its roots in spoken and written tales of
epic journeys, such as the Odyssey[5] and the Aeneid.
The road film is a standard plot employed by
screenwriters. It is a type of bildungsroman, a story
in which the hero changes, grows or improves over
the course of the story. It focuses more on the
journey rather than the goal. David Laderman lists
John Ford's 1939 other literary influences on the road movie, such as
Western Stagecoach has Don Quixote (1615), which uses a description of a
been called a proto-road journey to create social satire; The Adventures of
movie. Huckleberry Finn (1884), a story about a journey
down the Mississippi River that is full of social
commentary; Heart of Darkness (1902), about a
journey down a river in the Belgian Congo to search for a rogue colonial trader; and
Women in Love (1920), which describes "travel and mobility" while also providing
social commentary about the woes of industrialization.[5] Laderman states that
:
Women in Love particularly lays the groundwork for the future road films, as it
showed a couple who rebelled against social norms by leaving their familiar location
and going on an aimless, meandering journey.[5]
Steinbeck's novel The Grapes of Wrath (1939) depicts a family that struggles to
survive on the road during the Great Depression, a book that has been called
"America's best-known proletarian road saga".[5] The movie version of the novel,
made a year later, depicts the hungry, weary family's travel on Route 66 using
"montage sequences, reflected images of the road on windshields and mirrors", and
shots taken from the driver's point of view to create a sense of movement and
place.[61] Even though Henry Miller's The Air-Conditioned Nightmare (1947) is not
a fictional work, it captures the mood of frustration, restlessness and aimlessness
that became prevalent in the road movie.[5] In the book, which describe's Miller's
cross-country journey across the United States, he criticizes the nation's descent into
materialism.[5]
Western films such as John Ford's Stagecoach (1939) have been called "proto-road
movies."[62] In the film, an unusual group of travellers, including a banker,
prostitute, escaped prisoner and a military officer's wife, move through the
dangerous desert trails.[63] Even though the travellers are so unlike each other, the
mutual danger they must face in travelling through Geronimo's Apache territory
requires them to work together to create a "utopia of...community".[61] The
difference between older stories about wandering characters and the road movie is
technological: with road movies, the hero travels by car, motorcycle, bus or train,
making road movies a representation of modernity's advantages and social ills.[15]
The on-the-road plot was used at the birth of American cinema but blossomed in the
years after World War II, reflecting a boom in automobile production and the
growth of youth culture. Early road movies have been criticized for their "casual
misogyny", "fear of otherness", and for not examining issues such as power,
privilege, and gender [62] and for mostly showing white people.[64]
By depicting a movie character who was marginalized and who could not be
incorporated into mainstream American culture, Kerouac opened the way for road
movies to depict a more diverse range of characters, rather than just heterosexual
couples (e.g., It Happened One Night), groups on the move (e.g., The Grapes of
Wrath), notably the pair of male buddies.[67] On the Road and another novel
published in the same era, Vladimir Nabokov's novel Lolita (1955), have been called
"two monumental road novels that rip back and forth across American with a
subversive erotic charge."[8]
In the 1950s, there were "wholesome" road comedies such as Bob Hope and Bing
Crosby's Road to Bali (1952), Vincente Minnelli's The Long, Long Trailer (1954)
and the Dean Martin and Jerry Lewis film Hollywood or Bust (1956).[8] There were
not many 1950s road films, but "postwar youth culture" was depicted in The Wild
One (1953) and Rebel Without a Cause (1955).[8]
Timothy Corrigan states that post-WW II, the genre of road films became more
codified, with features solidifying such as the use of characters experiencing
"amnesia, hallucinations and theatrical crisis".[5] David Laderman states that road
movies have a modernist aesthetic approach, as they focus on "rebellion, social
criticism, and liberating thrills", which shows "disillusionment" with mainstream
political and aesthetic norms.[5] Awareness of the "road picture" as a separate genre
came only in the 1960s with Bonnie and Clyde and Easy Rider.[68] Road movies
were an important genre in the late 1960s and 1970s era of the New Hollywood, with
films such as Terrence Malick's Badlands and Richard Sarafian's Vanishing Point
(1971) showing an influence from Bonnie and Clyde.[69]
There may have been influences from French cinema in the creation of Bonnie and
Clyde; David Newman and Robert Benton have stated that they were influenced by
Jean-Luc Godard's A bout de souffle (1960) and François Truffaut's Tirez sur la
pianiste (1960).[70] More generally, Devin Orgeron states that American road
movies were based on post-WW II European cinema's own take on the American
road film approach, showing a mutual influence between US and European
filmmakers in this genre.[70]
The addition of violence to the sexual tension of road movies in the late 1960s and in
subsequent decades can be seen as a way to create more excitement and "frisson".[6]
From the 1930s to 1960s, merely showing a man and woman on a road trip was
exciting for audience, as all the motel stays and closeness had implied, yet deferred,
consummation of the sexual attraction between the characters (sex could not be
depicted due to the Motion Picture Production Code).[6] With Bonnie and Clyde
:
(1967) and Natural Born Killers (1994), the heterosexual couple are united by their
involvement in murder; as well, with jail hanging over their heads, there can be no
return to domestic life at the end of the film.[71]
There have been three historical eras of the "outlaw-rebel" road movie: the post-WW
II film noir era (e.g., Detour), the late 1960s era which was rocked by the Vietnam
War (Easy Rider and Bonnie and Clyde), and the post-Reagan era of the 1990s,
when the "masculinist heroics of the Gulf War gave way to closer scrutiny" (My Own
Private Idaho, Thelma & Louise and Natural Born Killers).[72] In the 1970s, there
were low-budget outlaw films depicting chases, such as Eddie Macon's Run.[30] In
the 1980s, there were rural Southern road movies such as Smokey and the Bandit
and the Cannonball Run chase films of 1981 and 1984.[30] The outlaw couple movie
was reinvented in the 1990s with a postmodernist take in films such as Wild at
Heart, Kalifornia and True Romance.[73]
While the first road movies described the discovery of new territories or pushing the
boundaries of a nation, which was a core message of early Western films in the
United States, road movies were later used to show how national identities were
changing, such as which Edgar G. Ulmer’s Detour (1945), a film noir about a
musician travelling from New York City to Hollywood who sees a nation absorbed by
greed, or Dennis Hopper’s Easy Rider, which showed how American society was
transformed by the social and cultural trends of the late 1960s.[1] The New
Hollywood era films made use of the new film technologies in the road movie genre,
such as "fast film stock" and lightweight cameras, as well as incorporating
filmmaking approaches from European cinema, such as "elliptical narrative
structure and self-reflexive devices, elusive development of alienated characters;
bold traveling shots and montage sequences.[5]
Road movies have been called a post-WW II genre, as they track key post-war
cultural trends, such as the breakup of the traditional family structure, in which
male roles were destabilized; there is focus on menacing events which impact the
characters who are on the move; there is an association between the character and
the mode of transportation being used (e.g., a car or motorcycle), with the car
symbolizing the self in the modern culture; and there is usually a focus on men, with
women typically being excluded, creating a "male escapist fantasy linking
masculinity to technology".[14] Despite these examples of the post-WW II aspects of
road movies, Cohan and Hark argue that road movies go back to the 1930s.[74]
In the 2000s, a new crop of road movies was produced, including Vincent Gallo's
Brown Bunny (2003), Alexander Payne's Sideways (2004), Jim Jarmusch's Broken
Flowers (2005) and Kelly Reichardt's Old Joy (2006) and scholars are taking more
interest in examining the genre.[75] The British Film Institute highlights ten post-
2000 road films that show that "[t]here’s still plenty of gas left in the road movie
genre".[76] The BFI's top 10 include Andrea Arnold’s American Honey (2016),
:
which used "mostly non-professional actors"; Alfonso Cuarón's Y tu mamá también
(2001), about Mexican teens on the road; The Brown Bunny (2003), which garnered
publicity for its "infamous fellatio scene"; Walter Salles' The Motorcycle Diaries
(2004), about Che Guevera's epic motorcycle trip; Mark Duplass and Jay Duplass'
The Puffy Chair (2005), the "first mumblecore road movie"; Broken Flowers
(2005); Jonathan Dayton and Valerie Faris' Little Miss Sunshine (2006), about a
family's trip in a VW camper van; Old Joy (2006); Alexander Payne's Nebraska
(2013), which depicts a father and son on a road trip; Steven Knight's Locke (2013),
about a construction executive taking stressful calls on a road trip; and Jafar
Panahi's Taxi Tehran (2015), about a cab driver ferrying strange passengers around
the city.[76] Timothy Corrigan has called the postmodern road movie a "borderless
refuse bin" of "mise en abyme" reflection, reflecting a modern audience that is not
able to think of a "naturalized history".[5] Atkinson calls contemporary road movies
an "ideogram of human desire and a last-ditch search for self" designed for an
audience that was raised watching TV, particularly open-ended serial programs.[5]
United
Kingdom, Sony Pictures
A French Holiday 2018
United States, Releasing
France
West
Alice in the Cities 1974 Bauer International
Germany
United States,
Are We There Yet? 2005 Columbia Pictures
Canada
United
Burn Burn Burn 2015 Verve Pictures
Kingdom
United States,
The Cannonball Run 1981 20th Century Fox
Hong Kong
Universal Home
Cop Car 2015
Entertainment
Dimension
Death Proof 2007
Films
Sony Pictures
Easy Rider 1969
Releasing
United States,
EuroTrip 2004 Czech Universal Pictures
Republic
The Fundamentals of
2016 Netflix
Caring
Sony Pictures
Get on the Bus 1996
United States Releasing
Ireland, United
Fox Searchlight
In America 2002 Kingdom,
Pictures
United States
IMGC Global
Karachi se Lahore 2015 Pakistan
Entertainment
Metro-Goldwyn-
Kingpin 1996 United States
Mayer
West
Kings of the Road 1976 Axiom Films
Germany
Buena Vista
Knockin' on Heaven's Door 1997 Germany
International
Fox Searchlight
Little Miss Sunshine 2006
Pictures
United States
Cineplex Odeon
The Living End[77] 1992
Films
All Rights
M Cream 2014 India
Entertainment
Warner Bros.
Midnight Special 2016
United States Pictures
Walt Disney
Moana 2016
Animation Studios
Argentina,
United States, Buena Vista
Chile, Peru, International (ARG)
The Motorcycle Diaries 2004 Brazil, United Pathé (UK)
Kingdom, Focus Features
Germany, (USA)
France
United States,
Associated Film
The Muppet Movie 1979 United
Distribution
Kingdom
:
My Own Private Idaho 1991 Fine Line Features
National Lampoon's
European Vacation 1985
United States
National Lampoon's Warner Bros.
1983
Vacation
E4 Entertainment &
Neelakasham Pachakadal
2013 India PJ Entertainments
Chuvanna Bhoomi
Europe
United States,
United
On the Road 2012 Kingdom, IFC Films
France, Brazil,
Canada
Pixar Animation
Onward 2020
Studios
United States
Paper Moon 1973 Paramount Pictures
West
Paris, Texas 1984 Germany, 20th Century Fox
France
Société Nouvelle de
Pierrot le Fou 1965 France
Cinématographie
DreamWorks
Pictures
Road Trip 2000
The Montecito
United States Picture Company
Well Go USA
The Road Within 2014
Entertainment
Village Roadshow
The Rover 2014 Australia
A24
The Spongebob
2004
SquarePants Movie
Paramount Pictures
The SpongeBob Movie: United States
2020
Sponge on the Run
United States,
United
The Straight Story 1999 Buena Vista Pictures
Kingdom,
France
FilmOne
Taxi Driver: Oko Ashewo 2015 Nigeria
Distributions
Metro-Goldwyn-
Thelma & Louise 1991 United States
Mayer
Warner Bros.
We're the Millers 2013
United States Pictures
The Samuel
Wild at Heart 1990
Goldwyn Company
AB Svensk
Wild Strawberries 1957 Sweden
Filmindustri
Metro-Goldwyn-
The Wizard of Oz 1939
United States Mayer
See also
Monomyth
Film portal
References
1. Salles, Walter (11 November 2007). "Notes for a Theory of the Road Movie" (http
s://www.nytimes.com/2007/11/11/magazine/11roadtrip-t.html). The New York
Times. Retrieved 25 August 2018.
2. Danesi, Marcel (2008). Dictionary of Media and Communications. M.E. Sharpe.
p. 256. ISBN 978-0-7656-8098-3.
3. Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds.
Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 1
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Further reading
Atkinson, Michael. "Crossing the frontiers." Sight & Sound vol IV number 1 (Jan
1994); p 14-17
Dargis, Manohla. "Roads to freedom." (history and analysis of road movies )
Sight and Sound July 1991 vol 1 number 3 p. 14
Dyer, Geoff (10 July 2022). "Full speed ahead: the enduring appeal of the road
movie" (https://www.theguardian.com/film/2022/jul/10/buckle-up-for-a-new-gener
ation-of-road-movies-geoff-dyer). The Guardian. Retrieved 12 July 2022.
Ireland, Brian. "American Highways: Recurring Images and Themes of the Road
Genre." The Journal of American Culture 26:4 (December 2003) p. 474-484
Laderman, David. Driving visions : exploring the road movie. Austin : University
of Texas Press, 2002.
Lang, Robert. "My own private Idaho and the new new queer road movies." New
York : Columbia University Press, c2002.
Mazierska, Ewa and Rascaroli, Laura. Crossing New Europe. Postmodern
Travel and the European Road Movie. London, Wallflower, 2006.
Morris, Christopher. "The Reflexivity of the Road Film." Film Criticism vol. 28 no.
1 (Fall 2003) p. 24-52
Orgeron, Devin. Road movies : from Muybridge and Méliès to Lynch and
Kiarostami. New York : Palgrave Macmillan, 2008.
Lie, Nadia. (2017). The Latin American (Counter-) Road Movie and Ambivalent
Modernity (https://www.palgrave.com/de/book/9783319435534#reviews). New
York: Palgrave-Macmillan. ISBN 978-3-319-43553-4 This book offers a critical
survey of the Latin American road film genre through an analysis covering over
160 films.
Luckman, Susan. "Road Movies, National Myths and the Threat of the Road:
The Shifting Transformative Space of the Road in Australian Film." International
Journal of the Humanities; 2010, Vol. 8 Issue 1, p. 113–125.
Mills, Katie. "Road Film Rising: Hells Angels, Merry Pranksters, and Easy Rider."
The road story and the rebel : moving through film, fiction, and television.
:
Carbondale : Southern Illinois University Press, 2006.
Cohan, Steven; Hark, Ina Rae, eds. (1997). The Road Movie Book (https://books.
google.com/books?id=iNiJAgAAQBAJ). Routledge. ISBN 978-0-415-14937-2.
OCLC 36458232 (https://www.worldcat.org/oclc/36458232). This book collects
16 essays on road movies.
External links
Road Movie Filmography (http://www.lib.berkeley.edu/MRC/roadmovies.html) at
University of California, Berkeley