Road movie
A road movie is a
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
While early road movies from the 1930s focused on 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).
Genre and production elements
The road movie has been called an elusive and ambiguous film genre.[7] Timothy Corrigan states that road movies are a "knowingly impure" genre as they have "overdetermined and built-in genre-blending tendencies".[12] Devin Orgeron states that road movies, despite their literal focus on car trips, are "about the [history of] the cinema, about the culture of the image", with road movies created with a mixture of Classical Hollywood film genres.[12] The road movie genre developed from a "constellation of “solid” modernity, combining locomotion and media-motion" to get "away from the sedentarising forces of modernity and produc[e] contingency".[13]
Road movies are blended with other genres to create a number of subgenres, including: road horror (e.g.,
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]
Country or region of production
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]
In US road movies, the road is an "alternative space" where the characters, now set apart from conventional society, can experience transformation.[17] For example, in It Happened One Night (1934), a wealthy woman who goes on the road is liberated from her elite background and marriage to an immoral husband when she meets and experiences hospitality from regular, good-hearted Americans who she never would have met in her previous life, with middle America depicted as a utopia of "real community".[18] The scenes in road movies tend to elicit longing for a mythic past.[19]
American road movies have tended to be a white genre, with
Australia
Australia's vast open spaces and concentrated population have made the road movie a key genre in that country, with films such as
Other Australian road movies include
The Adventures of Priscilla, Queen of the Desert (1994) has been called a "watershed gay road movie that addresses diversity in Australia".[8] Walkabout (1971), Backroads (1977), and Rabbit-Proof Fence (2002) use a depiction of travelling through the Australian outback to address the issue of relations between white and Indigenous people.[8]
In 2005, Fiona Probyn described a subgenre of road movies about Indigenous Australians that she called "No Road" movies, in that they typically do not show a vehicle travelling on an asphalt road; instead, these films depict travel on a trail, often with Indigenous trackers being shown using their tracking abilities to discern hard-to-detect clues on the trail.
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]
Asian-Canadian filmmakers have made road films about the experience of Canadians of Asian origin, such as
Europe
European filmmakers of road movies appropriate the conventions established by American directors, while at the same time reformulating these approaches, by de-emphasizing the speed of the driver on the road, increasing the amount of introspection (often on themes such as national identity), and depicting the road trip as a search on the part of the characters.[26]
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
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.,
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 años bárbaros, 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
Other European road films include
Latin America
Road movies made in Latin America are similar in feel to European road films.
Russia and countries of the former USSR
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 (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
Ryan Gilbey of
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
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]
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The road movie of the pre-WW II era was changed by the publication of Jack Kerouac's On the Road in 1957, as it sketched out the future for the road movie and provided its "master narrative" of exploration, questing, and journeying. The book includes many descriptions of driving in cars. It also depicted the character Sal Paradise, a middle class college student who goes on the road to seek material for his writing career, a bounded journey with a clear start and finish which differs from the open ended wandering of previous films, with characters making chance encounters with other drivers who influence where one travels or ends up.[65] To contrast the intellectual Sal character, Kerouac has the juvenile delinquent Dean, a wild, fast-driving character who represents the idea that the road provides liberation.[66]
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".
There may have been influences from French cinema in the creation of Bonnie and Clyde;
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".
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
Movies of this genre
 | This section needs additional citations for verification. (April 2017) |
Note, that the Country column is the country of origin and/or financing, and does not necessarily represent the country or countries depicted in each film.
See also
- Monomyth
References
- ^ a b c Salles, Walter (11 November 2007). "Notes for a Theory of the Road Movie". The New York Times. Retrieved 25 August 2018.
- ISBN 978-0-7656-8098-3.
- ^ Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 1
- ^ a b Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 1 and 6
- ^ a b c d e f g h i j k l m n o Laderman, David. Driving Visions: Exploring the Road Movie. University of Texas Press, 2010. Ch. 1
- ^ a b c d Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 8
- ^ a b Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 2
- ^ a b c d e f g h i j k l m n o p q r s t u "Road Movies". www.encyclopedia.com. Schirmer Encyclopedia of Film. Retrieved 13 September 2018.
- ^ a b c d Hayward, Susan. "Road movie" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. p. 335-336
- ^ Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 20
- ^ Archer, Neil. The Road Movie: In Search of Meaning. Columbia University Press, 2016. p. 25
- ^ a b Orgeron, Devin. Road Movies: From Muybridge and Méliès to Lynch and Kiarostami. Springer, 2007. p. 3
- ^ Moser, Walter. "Présentation. Le road movie : un genre issu d’une constellation moderne de locomotion et de médiamotion." Cinémas, volume 18, number 2-3, printemps 2008, p. 7–30. doi:10.7202/018415ar
- ^ a b c Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 2
- ^ a b Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 3
- ^ Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 6
- ^ Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 5
- ^ Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 5-6
- ^ Orgeron, Devin. Road Movies: From Muybridge and Méliès to Lynch and Kiarostami. Springer, 2007. p. 5
- ^ Archer, Neil. The Road Movie: In Search of Meaning. Columbia University Press, 2016. p. 18
- ^ a b c Swirski, Peter. All Roads Lead to the American City. Hong Kong University Press, 2007, p. 28
- ^ Nette, Andrew (7 April 2017). "10 great dystopian Australian road movies". www.bfi.org.uk. British Film Institute. Retrieved 21 August 2018.
Australia's sheer size and relatively concentrated population means much of its cinema has either taken the form of road movies or contains aspects of the road film genre.
- ^ a b c d e f Khoo, Olivia; Smaill, Belinda; Yue, Audrey. "The Global Back of Beyond: Ethics and the Australian Road Movie". In Transnational Australian Cinema: Ethics in the Asian Diasporas, p. 93-106. Lexington Books, 2013
- ^ Nette, Andrew (7 April 2017). "10 great dystopian Australian road movies". www.bfi.org.uk. British Film Institute. Retrieved 21 August 2018.
- ^ Bell, Robert (6 September 2011). "I'm Yours: Leonard Farlinger". exclaim.ca. Exclaim. Retrieved 21 August 2018.
- ^ Oliete-Aldea, Elena; Oria, Beatriz; and Tarancón Juan A. Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Bloomsbury Publishing USA, 2015. p. 147-8
- ^ Brody, Richard (3 September 2015). "Where Wim Wenders Went Wrong". The New Yorker. Retrieved 7 June 2016.
- ^ "Wim Wenders retrospective: five to watch, and one to miss". The Guardian. Retrieved 7 June 2016.
- ^ Orgeron, Devin. Road Movies: From Muybridge and Méliès to Lynch and Kiarostami. Springer, 2007. p. 140-147
- ^ a b c Cohen, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 10
- ^ Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 1
- ^ Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 18-19
- ^ a b c Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 3
- ^ Eraso, Carmen Indurain. "The Transnational Dimension of Contemporary Spanish Road Movies" in Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Oliete-Aldea, Elena; Oria, Beatriz; and Tarancón Juan A, eds. Bloomsbury Publishing USA, 2015. p. 144
- ^ Eraso, Carmen Indurain. "The Transnational Dimension of Contemporary Spanish Road Movies" in Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Oliete-Aldea, Elena; Oria, Beatriz; and Tarancón Juan A, eds. Bloomsbury Publishing USA, 2015. p. 145
- ^ a b Eraso, Carmen Indurain. "The Transnational Dimension of Contemporary Spanish Road Movies" in Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Oliete-Aldea, Elena; Oria, Beatriz; and Tarancón Juan A, eds. Bloomsbury Publishing USA, 2015. p. 145-6
- ^ Eraso, Carmen Indurain. "The Transnational Dimension of Contemporary Spanish Road Movies" in Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Oliete-Aldea, Elena; Oria, Beatriz; and Tarancón Juan A, eds. Bloomsbury Publishing USA, 2015. p. 148
- ^ Eraso, Carmen Indurain. "The Transnational Dimension of Contemporary Spanish Road Movies" in Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Oliete-Aldea, Elena; Oria, Beatriz; and Tarancón Juan A, eds.Bloomsbury Publishing USA, 2015. p. 148
- ^ Eraso, Carmen Indurain. "The Transnational Dimension of Contemporary Spanish Road Movies" in Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Oliete-Aldea, Elena; Oria, Beatriz; and Tarancón Juan A, eds.Bloomsbury Publishing USA, 2015. p. 149 and 153
- ^ Eraso, Carmen Indurain. "The Transnational Dimension of Contemporary Spanish Road Movies" in Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Oliete-Aldea, Elena; Oria, Beatriz; and Tarancón Juan A, eds. Bloomsbury Publishing USA, 2015. p. 152
- ^ Rooney, David (1998-01-12). "Three Men and a Leg". Variety. Retrieved 2022-05-22.
- ^ "The Sunday Tribune - Spectrum". tribuneindia.com.
- ^ Rachel Dwyer (30 May 2005). "Behind The Scenes". Outlook Magazine. Retrieved 18 August 2010.
- ^ "Edouard Waintrop on the New Indian Cinema : UP Front – India Today". India Today. 18 May 2012. Retrieved 27 September 2012.
- ^ "Road, Movie". Toronto International Film Festival. Archived from the original on 25 December 2009. Retrieved 21 January 2010.
- ^ "Road Movie set to premier in Toronto on Friday". CNN-IBN. 18 September 2009. Archived from the original on 23 September 2009. Retrieved 21 January 2010.
- ^ Bollywood Trade News Network (14 January 2010). "ROAD, MOVIE selected as Berlin Festival opener". AOL Bollywood. Retrieved 21 January 2010.
- ^ "11 Bollywood Road Trip Movies to Inspire you to Hit the Road!". www.holidify.com.
- ^ "Geethu Mohandas' 'Liar's Dice' is India's official entry to the Oscars". CNN-IBN. 23 September 2014. Archived from the original on 24 September 2014. Retrieved 2014-10-19.
- ^ "Oscars: India Selects 'Liar's Dice' for Foreign-Language Category". Hollywood Reporter. Retrieved 23 September 2014.
- ^ "Liar's Dice wins Special Jury award at Sofia International Film Festival". DearCinema.com. Archived from the original on 21 March 2014.
- ^ "Top 10 small-budget independent films set to release in 2015". mid-day. 9 January 2015.
- ^ "Movie Review: Karwaan". filmfare.com. Retrieved 2018-08-05.
- ^ Ryan Gilbey (2 August 2011). "Ryan Gilbey's Bollywood contract: Hindi heroes pack a soft and hard punch". The Guardian. Archived from the original on 30 September 2013. Retrieved 2 August 2011.
- ^ "'Piku' trailer to be released with 'Detective Byomkesh Bakshy!'". No. Mid-Day.com. Mid-Day. Retrieved 18 March 2015.
- ^ "Dhanak | Rainbow | Regenbogen". www.berlinale.de.
- ^ "Deepika Padukone, Arjun Kapoor Team Up for English Film". International Business Times. 10 May 2013. Retrieved 28 June 2013.
- ^ "News18.com: CNN News18 Latest News, Breaking News India, Current News Headlines". News18. Archived from the original on 23 September 2013. Retrieved 27 October 2017.
- ^ "20 best African films – ranked!". the Guardian. October 1, 2020.
- ^ Peer, Stefanie Elvire Van De. "The African road movies of Khouribga | Transnational Moroccan Cinema".
- ^ a b Archer, Neil. The Road Movie: In Search of Meaning. Columbia University Press, 2016. p. 15
- ^ a b Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 5
- ^ Archer, Neil. The Road Movie: In Search of Meaning. Columbia University Press, 2016. p. 16
- ^ Archer, Neil. The Road Movie: In Search of Meaning. Columbia University Press, 2016. p. 18-19
- ^ Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 6-7
- ^ Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 7
- ^ Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 7-8
- ^ Cowen, Nick; Hari Patience (26 Feb 2009). "Wheels On Film: Easy Rider". The Daily Telegraph. Archived from the original on 2022-01-12. Retrieved 22 July 2013.
- ^ Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 8
- ^ a b Archer, Neil. THE FRENCH ROAD MOVIE: Space, Mobility, Identity. Berghahn Books. p. 13
- ^ Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 9
- ^ Cohen, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 2
- ^ Cohen, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohan, Steven and Hark, Ina Rae. Routledge, 2002. p. 14
- ^ Cohan, Steven and Hark, Ina Rae. "Introduction". The Road Movie Book. Eds. Cohen, Steven and Hark, Ina Rae. Routledge, 2002. p. 1
- ^ Orgeron, Devin. Road Movies: From Muybridge and Méliès to Lynch and Kiarostami. Springer, 2007. p. 8
- ^ a b Lunn, Oliver (23 January 2018). "10 great road movies of the 21st century". www.bfi.org.uk. BFI. Retrieved 13 October 2018.
- ^ Maslin, Janet (April 3, 1992). "Review/Film Festival: The Living End; Footloose, Frenzied and H.I.V.-Positive". The New York Times.
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". 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. New York: Palgrave-Macmillan. ISBN 978-3-319-43553-4This 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. Routledge. OCLC 36458232. This book collects 16 essays on road movies.
