Relevant bibliographies by topics / Road movie / Journal articles

Journal articles on the topic 'Road movie'

To see the other types of publications on this topic, follow the link: Road movie.
Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Road movie.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Shukman, Henry. "Road Movie." Hudson Review 53, no. 3 (2000): 437. http://dx.doi.org/10.2307/3853032.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bourke, Joanna. "Apocalyptic road movie." Lancet 375, no. 9708 (January 2010): 20. http://dx.doi.org/10.1016/s0140-6736(09)62173-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Endo, Tomoyuki, Chen Qu, and Heide Ibrahim. "A molecular road movie." Physics Today 74, no. 7 (July 1, 2021): 62–63. http://dx.doi.org/10.1063/pt.3.4801.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Szendy, Peter. "The Archi-Road Movie." Senses and Society 8, no. 1 (March 2013): 50–61. http://dx.doi.org/10.2752/174589313x13500466750921.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kazurova, Natalia V., and Ekaterina Y. Trushkina. "THE ROAD MOVIE GENRE IN THE WEST MOVIES AND THE MUSLIM EAST CINEMATOGRAPHY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2021): 126–42. http://dx.doi.org/10.28995/2686-7249-2021-4-126-142.

Full text
Abstract:
The article analyzes specific features of the Road Movie genre in a historical perspective on the example of the Western countries film production and Iran national cinematography. To that end the authors focus on genre and semantic variety of classical movies, a «proto-road-movie» and the Road Movies of nowadays. A comparative approach to the study of the genre formula provides for revealing the nuances in the stylistic techniques of directors and defining the national features of the semantic core of the Road Movie genre in both the Western movies (created in Europe and the USA) and in the films of the East (Iranian New Wave). While maintaining a number of aesthetic features that are similar in Western and Eastern Road Movies, one can nevertheless observe a significant difference in the way of representing the concept of the Path (the Road) by directors from the West and from Muslim countries. The article gives a detailed analysis of the Road concept in the context of Islamic cinema. Studying the symbolic of the Path and the Travel in Muslim tradition the authors refer to the norms of Sharia, Sufism and to the mode of the life traditions of the Middle Ages and our days. Special attention is paid to the movies of a well-known Iranian director Abbas Kiarostami. Working before and after the Islamic Revolution (1978–1979) he was the one of the founders of the New Iranian cinema.
APA, Harvard, Vancouver, ISO, and other styles
6

Zhang, Rongchen. "A Study on the Development and Change Strategies of Domestic Road Films in China." Highlights in Business, Economics and Management 28 (April 9, 2024): 68–74. http://dx.doi.org/10.54097/cn072212.

Full text
Abstract:
The analysis in this paper focuses on the Chinese domestic road movie, a film genre that has a late but promising start in China. The material for Chinese road movies often comes from people’s lives, but some trends in recent years have proved that Chinese road movie creators are trying to use road movies to show people’s inner desires, which are different from those in the past. The purpose of studying the development and changing strategies of road films is to promote the development of Chinese-made road films in the future and to find breakthroughs for developing Chinese road films in a social environment where pressure is gradually increasing. After introducing the development of Chinese road movies at various stages, based on the status quo of Chinese road movies in the past, the author points out the problems in the development process of Chinese road movies in terms of the solidification of the mode, the mishmash of genres and the spiritual kernel that has been gradually exposed. In the face of this situation, the author makes three suggestions in the light of the spiritual core of Chinese people and the current situation of modern society.
APA, Harvard, Vancouver, ISO, and other styles
7

Paiva, Samuel. "Gêneses do gênero road movie." Significação: Revista de Cultura Audiovisual 38, no. 36 (December 22, 2011): 35. http://dx.doi.org/10.11606/issn.2316-7114.sig.2011.70902.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Aurora Luque. "Aparcar es difícil: –Road movie–." Sirena: poesia, arte y critica 2008, no. 2 (2008): 16. http://dx.doi.org/10.1353/sir.0.0031.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Aurora Luque and Mark Aldrich. "Parking is Difficult: –Road Movie–." Sirena: poesia, arte y critica 2008, no. 2 (2008): 17. http://dx.doi.org/10.1353/sir.0.0050.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Anderson, Patrick D. "Mediastan: A Wikileaks Road Movie, 2013." American Journalism 38, no. 4 (October 2, 2021): 506–7. http://dx.doi.org/10.1080/08821127.2021.1976029.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

flanders, elle. "Road Movie: Notes from the Field." Camera Obscura: Feminism, Culture, and Media Studies 27, no. 2 (2012): 165–75. http://dx.doi.org/10.1215/02705346-1597267.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Cudar, David. "Driving Visions: Exploring the Road Movie." Film Quarterly 57, no. 2 (December 2003): 53–54. http://dx.doi.org/10.1525/fq.2004.57.2.53.

Full text
APA, Harvard, Vancouver, ISO, and other styles
13

Lubis, Fardiah Oktariani. "Central Station: Road Movie and Transnational Film." Jurnal Politikom Indonesiana 3, no. 2 (December 31, 2018): 1–7. http://dx.doi.org/10.35706/jpi.v3i2.1650.

Full text
Abstract:
A certain genre of film generally has certain formulas, that is codes and conventions that is used to represent its elements. In addition, a film could and mostly belong to more than one genre. Road movie generally tells story of people “on the road” or on journey to places, while transnational film can be described as film that is capable to bring about story that can be rooted on any national culture. This study is then attempt to attest Central Station as a road movie as well as a transnational film, which arguably can be done by identifying elements of the film, such as narrative and mode of production, that constitute to a certain genre.Key words : Film, Genre, Road Movie, Transnational Movie, Central Station
APA, Harvard, Vancouver, ISO, and other styles
14

McCann, B. "Open Roads, Closed Borders: The Contemporary French-Language Road Movie." French Studies 68, no. 2 (April 1, 2014): 292. http://dx.doi.org/10.1093/fs/knu007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

Korstanje, Maximiliano E. "Open roads, closed borders: The contemporary French-language road movie." Annals of Tourism Research 44 (January 2014): 293–94. http://dx.doi.org/10.1016/j.annals.2013.08.005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

Archer, Neil. "Genre on the road: the road movie as automobilities research." Mobilities 12, no. 4 (May 31, 2017): 509–19. http://dx.doi.org/10.1080/17450101.2017.1330988.

Full text
APA, Harvard, Vancouver, ISO, and other styles
17

Fendler, Ute. "Le road movie dans le contexte interculturel africain." Cinémas 18, no. 2-3 (August 4, 2008): 69–88. http://dx.doi.org/10.7202/018552ar.

Full text
Abstract:
Résumé À partir des années 1990, on constate, en Afrique francophone, une hausse de la production de films que l’on peut qualifier de road movies. Mais comment s’effectue le transfert de ce genre d’origine américaine, dont les caractéristiques les plus marquantes sont l’expérience de l’espace dans le sens spatial et symbolique et la quête d’identité, dans le contexte africain ? En fait, on note que des tendances thématiques et esthétiques se manifestent à l’intérieur du champ cinématographique maghrébin et ouest-africain francophone, notamment la migration Sud-Nord, synonyme de quête d’un avenir meilleur, et le voyage Nord-Sud, synonyme de quête de racines perdues. Outre ces voyages de migration, des périples effectués au sein d’un seul pays mettent l’accent sur la diversité ethnique et culturelle africaine, ce qui est l’occasion de rencontres interculturelles. Dans ce champ cinématographique s’insèrent aussi les films d’orientation historique, légendaire ou mystique où la quête de l’identité ou même du sens de la vie est centrale. Le road movie se prête en effet particulièrement à l’illustration de l’état des sociétés en mutation ou en voie de développement de l’Afrique francophone, ce qui se manifeste par l’abondance des lieux de transit et des mouvements en suspens dans son cinéma. Mais ce genre fait également écho aux récits traditionnels de cette dernière, de telle sorte que les road movies africains s’inscrivent plutôt dans une tradition propre aux récits de voyage et d’initiation — grâce aux types de narration que suppose le road movie —, où les destins individuels sont au premier plan. L’appropriation du genre road movie par les cinéastes d’Afrique francophone représente donc aussi la possibilité de s’inscrire dans l’histoire cinématographique pour attirer l’attention sur des productions issues des cinémas dits « mineurs », le genre leur conférant une certaine visibilité auprès des critiques et des publics.
APA, Harvard, Vancouver, ISO, and other styles
18

Gin, Pascal. "Les bifurcations culturelles du road movie contemporain." Cinémas 18, no. 2-3 (August 4, 2008): 31–45. http://dx.doi.org/10.7202/018550ar.

Full text
Abstract:
Résumé L’article examine sous l’angle de l’interculturalité le renouvellement cinématographique du road movie au tournant du xxie siècle. La cohérence que le terme et l’idée de culture confèrent à une reconfiguration de ce genre filmique réside dans les tensions dont se saisissent des films contemporains faisant appel à l’imaginaire de la route pour mettre en rapport enjeux identitaires et appartenance culturelle. L’interculturalité ne se résume donc pas à une simple unité thématique qui reprendrait en écho le discours aujourd’hui dominant du contact et de la diversité culturels. S’appuyant sur une filmographie pour l’essentiel sud-américaine, nord-américaine et européenne, l’étude privilégie trois axes de réflexion, qui isolent chacun une acception distincte du concept de culture et, partant, délimitent une dimension particulière de l’interculturel. Disponibilisation contrariée, asymétrie et opacité relaient ainsi une analyse situant la dimension interculturelle du road movie contemporain au-delà d’une simple interculturalité de figuration.
APA, Harvard, Vancouver, ISO, and other styles
19

Phillips, Alastair. "The French Road Movie: Space, Mobility, Identity." Journal of Contemporary European Studies 22, no. 2 (April 3, 2014): 205–6. http://dx.doi.org/10.1080/14782804.2014.923642.

Full text
APA, Harvard, Vancouver, ISO, and other styles
20

Mazairac, Guy. "Road Trauma, a socially accepted horror movie." BMJ 328, no. 7444 (April 8, 2004): 903.1. http://dx.doi.org/10.1136/bmj.328.7444.903.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Ceruzzi, Paul E. "Driving Visions: Exploring the Road Movie (review)." Technology and Culture 44, no. 1 (2003): 172–73. http://dx.doi.org/10.1353/tech.2003.0006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Hardwick, Joe. "Double binds and double movements: Masculinity, mobility and fraternal rivalry in Pascal Alex Vincent’s Donne-moi la main (2008)." French Cultural Studies 30, no. 1 (February 2019): 44–52. http://dx.doi.org/10.1177/0957155818810662.

Full text
Abstract:
Twin tales are short on survivors. On the one hand is the threat of implosion; on the other, outsiders can shatter the twin relationship. This fine line is walked by Quentin and Antoine, the protagonists of Pascal Alex Vincent’s Donne-moi la main (2008), who hitchhike from France to Spain to attend their mother’s funeral. Vincent’s film is both a twin tale and a road movie. In this mix, there is the potential for generic conflict since, in contrast to the claustrophobia of the twin relationship, the road movie emphasises a mobility which is emancipatory. Drawing on the work of Juliana de Nooy and on theory relating to the road movie, this article examines how Vincent’s film juggles the restrictions of the twin tale with the freedom of the road. In doing so, it questions the extent to which the road movie might offer liberation from hegemonic masculinity for its protagonists.
APA, Harvard, Vancouver, ISO, and other styles
23

Firmansyah, Dede M. Halim, and Andri Noviadi. "NILAI MORAL DALAM ANIME FILM NARUTO THE MOVIE ROAD TO NINJA KARYA MASHASI KISHIMOTO." Diksatrasia : Jurnal Ilmiah Pendidikan Bahasa dan Sastra Indonesia 6, no. 2 (October 28, 2022): 132. http://dx.doi.org/10.25157/diksatrasia.v6i2.7803.

Full text
Abstract:
Penulis tertarik meneliti film Naruto The Movie Road To Ninja Karya Mashasi Kishimoto karena nilai kehidupan dalam film ini difokuskan pada pembahasan nilai moral. Selanjutnya, pembentukan nilai moral para tokoh tersebut dikaitkan dengan latar belakang asal tempat yang terdapat dalam film dan kehidupan masyarakat. Film ini juga mengajak penontonnya untuk bisa saling membantu satu sama lain, menumbuhkan rasa kasih sayang, dan perjuangan membela yang benar. Penelitian ini bertujuan untuk mendeskripsikan nilai moral dalam film Naruto The Movie Road To Ninja Karya Mashasi Kishimoto, digunakan dalam pembelajaran apresiasi sastra di sekolah. Adapun hasil penelitian ini penulis tuangkan ke dalam bentuk skripsi dengan "Nilai Moral Dalam Anime Film Naruto The Movie Road To Ninja Karya Mashasi Kishimoto".Rumusan masalah dalam penelitian ini adalah "Bagaimana Nilai Moral yang terdapat dalam film Naruto The Movie Road To Ninja Karya Mashasi Kishimoto?" Masalah dalam penelitian ini dibatasi dengan nilai moral yang berkaitan dengan hubungan manusia dengan dirinya sendiri, hubungan manusia dengan manusia lain dan lingkungannya, dan hubungan manusia dengan Tuhannya.Penelitian ini bertujuan untuk "Mendeskripsikan nilai-nilai moral yang terdapat dalam film Naruto the Movie Road to Ninja Karya Mashasi Kishimoto." Metode yang digunakan adalah metode deskriptif analisis yaitu metode yang menggambarkan hasil penelitian.Hasil penelitian ini dapat disimpulkan bawha film Naruto the Movie Road to Ninja Karya Mashasi Kishimoto mengandung nilai-nilai moral yaitu: (1) Hubungan manusia dengan dirinya sendiri (percaya diri, berani dalam mengambil keputusan, kerja keras, pendirian yang kuat, emosi kebahagiaan). (2) Hubungan manusia dengan manusia lainnya dan lingkungannya (tolong menolong dan kesetiakawanan, cinta kasih kedua orang tua, tanggung jawab). (3) Hubungan manusia dengan Tuhannya (percaya adanya Tuhan)Kata Kunci : Nilai Moral, Film
APA, Harvard, Vancouver, ISO, and other styles
24

Gora, Sasha. "Buddies, Lovers, and Detours: America and its Road Movies." Review of International American Studies 14, no. 2 (December 19, 2021): 103–19. http://dx.doi.org/10.31261/rias.11809.

Full text
Abstract:
Is an open road also a democratic one? Zooming in on two films—Queen & Slim (2019) and Unpregnant (2020)—this article discusses American road movie genre from the perspective of 2021, and how contemporary film narratives intersect with race and gender. One movie often drives in another film’s lane, meaning the genre is self-referential. Unfolding in three parts, the article begins by introducing these two films and surveying how they contribute to the road movie genre. It then discusses cars and clothing as characters and concludes by considering surveillance and how these films, in tandem, take the temperature of contemporary American society.
APA, Harvard, Vancouver, ISO, and other styles
25

Szendy, Peter. "L’archi-road movie, ou le routage des sens." Intermédialités, no. 19 (October 9, 2012): 139–54. http://dx.doi.org/10.7202/1012660ar.

Full text
Abstract:
Chaque film est l’ouverture, le frayage d’un monde (de ce que Jean-Luc Nancy a pu appeler un cinémonde). Et d’un tel frayage, la route et le road movie sont plus que la figure ou la métaphore : ils en sont le schème moteur. Dès lors, la question de la synchronisation audiovisuelle se trouve déplacée : elle se reformule comme celle du routage, chaque fois singulier, des sens et de leur accrochage en tel ou tel point où leurs voies se touchent. C’est ce que l’on appelle ici, respectivement pour l’oeil et l’oreille, l’optoroute et l’otoroute cinématiques, dont on recense et décrit les tracés dans nombre de films, notamment Blow Out (Brian De Palma, 1981), Lost Highway (David Lynch, 1997) et Death Proof (Quentin Tarantino, 2007).
APA, Harvard, Vancouver, ISO, and other styles
26

Szendy, Peter. "L’archi-road movie, ou le routage des sens." Acta Poética 34, no. 1 (January 2013): 85–106. http://dx.doi.org/10.1016/s0185-3082(13)72395-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

Chang-Gyu Ju. "A Study on the Chungmuro Road Movie Genre." Film Studies ll, no. 34 (December 2007): 374–405. http://dx.doi.org/10.17947/kfa..34.200712.014.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

Borzakian, Manouk. "Le road movie : individus nomades et société sédentaire." La Géographie N° 1557, no. 2 (April 1, 2015): 24–27. http://dx.doi.org/10.3917/geo.1557.0024.

Full text
APA, Harvard, Vancouver, ISO, and other styles
29

Peters, Rikke Louise. "Easy Rider og drømmen om frihed." Slagmark - Tidsskrift for idéhistorie, no. 60 (March 9, 2018): 172–87. http://dx.doi.org/10.7146/sl.v0i60.103984.

Full text
Abstract:
Peters Fondas road movie Easy Rider forms the spine in this essay, whichhunts the idea of freedom on the road. The essay first takes a closer lookat Easy Rider and the ideals the creators of the film wanted to describe.Then moves on to take a closer look at later political receptions of the film and finally takes a closer look at the ideals that bring young women tochase freedom on the roads.
APA, Harvard, Vancouver, ISO, and other styles
30

Paszkiewicz, Katarzyna. "Framing the Non-human: American Honey as Eco-Road Movie." Journal of British Cinema and Television 18, no. 3 (July 2021): 303–28. http://dx.doi.org/10.3366/jbctv.2021.0576.

Full text
Abstract:
This article approaches Andrea Arnold's American Honey (2016) as a contemporary manifestation of an eco-road movie. Although the film's expansive interest in the ‘natural’ environment and its non-human inhabitants aligns it with Arnold's earlier work, American Honey is unique for its complex engagement with the cinematic traditions of Hollywood genre films. I argue that Arnold's eco-aesthetics work to conflate the distinctions between human and non-human worlds, offering a de-romanticisation of the American picturesque vistas and exploring the intersections of human speciesism, masculinity and whiteness, as well as narratives of conquest and ownership. I focus on the ways in which the film both participates in and exceeds Arnold's previous ecocinematic approach in filming British landscape, while at the same time highlighting her distinctive contribution to the tradition of the road movie. If the conventional road movie tends to offer a sense of escape from the capitalist dystopia, American Honey displaces such a promise. In its complex treatment of the supposedly distinct realms of nature and culture, the film does not endorse a return to the mythical wild but, rather, draws attention to the messiness of ecological, social and economic entanglements, exposing both neoliberal and anthropocentric power structures. Ultimately, it is through the intertwining of the film's ecological orientation and its engagement with the conventions of the road movie and its antecedent, the Western, that such a critique is possible.
APA, Harvard, Vancouver, ISO, and other styles
31

García Ochoa, Santiago. "En tránsito: Un recorrido por la road movie norteamericana." Signa: Revista de la Asociación Española de Semiótica 27 (April 9, 2018): 419. http://dx.doi.org/10.5944/signa.vol27.2018.18701.

Full text
Abstract:
La road movie no puede considerarse un género canónico. Su origen a finales de los 60, en plena crisis del cine clásico, explica su especial condición de intergénero. A pesar de ello, la road movie posee una poética propia que viene definida por la estructura narrativa en torno al desplazamiento por carretera, el empleo de unos recursos técnicos concretos (como el camera car), el protagonismo tradicionalmente masculino o el sentido metafórico del viaje. Desde su nacimiento, coincidiendo con New Hollywood (1967-1975), a la actualidad, el género ha experimentado una serie de cambios significativos, como la incorporación de las minorías (mujeres, enfermos, gays, ancianos, etc.) y la familia al viaje.
APA, Harvard, Vancouver, ISO, and other styles
32

Destrianaputri Ramadita. "Road Rage Behaviour In Movie Unhinged Directed By Derrick Borte Through Psychoanalytic Approaches." EDUJ : English Education Journal 1, no. 2 (December 15, 2023): 49–56. http://dx.doi.org/10.59966/eduj.v1i2.547.

Full text
Abstract:
Road rage is a phenomenon that involves the connection between human anger and driving performance. This study aims to discover about how road rage is being portrayed in movie Unhinged and to know the interconnection between characters based on their background and motives. This research uses the psychoanalysis theory of Freud in "Unhinged" to discover the characters’ backgrounds and motives. The research adopts a qualitative approach. Through non-numeric data analysis, the study provides an overview of road rage, including its causes and severe consequences depicted in the movie. The examination of various scenes in the movie reveals similarities in the motives of the characters, despite their distinct backgrounds and personalities, which are both explicitly and implicitly explained. By analyzing the backgrounds of the characters, an interconnected negative influence between them is inferred. Ultimately, this study concludes that Unhinged prominently highlights road rage as its central theme, and through a deep analysis of character backgrounds, it unveils the overwhelming burden of thoughts experienced by both individuals, leading to heightened sensitivity on that particular day.
APA, Harvard, Vancouver, ISO, and other styles
33

yea li yoo and 김승인. "Evaluation of Usability for Mobile Video Production Application - Focus on Road Movie and Snap Movie -." Journal of Digital Design 14, no. 3 (July 2014): 285–94. http://dx.doi.org/10.17280/jdd.2014.14.3.029.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Laderman, David. "The Road Movie Book Steven Cohan Ina Rae Hark." Film Quarterly 52, no. 2 (December 1998): 58–60. http://dx.doi.org/10.2307/1213281.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Gibbs, Alexis. "‘Somewhere without language’: Reflections on a road movie education." Journal of Philosophy of Education 55, no. 4-5 (August 2021): 740–46. http://dx.doi.org/10.1111/1467-9752.12604.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Laderman, David. "The Road Movie Rediscovers Mexico: Alex Cox's Highway Patrolman." Cinema Journal 39, no. 2 (2000): 74–99. http://dx.doi.org/10.1353/cj.2000.0003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Pilz, Kerstin. "Dreams of Escape: Variations of the Italian Road Movie." Romance Studies 21, no. 2 (July 2003): 139–52. http://dx.doi.org/10.1179/ros.2003.21.2.139.

Full text
APA, Harvard, Vancouver, ISO, and other styles
38

Desbordes-Vela, Rhoda. "The Latin American (Counter-)Road Movie and Ambivalent Modernity." Historical Journal of Film, Radio and Television 38, no. 3 (April 17, 2018): 665–67. http://dx.doi.org/10.1080/01439685.2018.1459025.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Kotte, Claudia. "The Global Road Movie: Alternative Journeys Around the World." Historical Journal of Film, Radio and Television 39, no. 3 (April 29, 2019): 630–32. http://dx.doi.org/10.1080/01439685.2019.1603906.

Full text
APA, Harvard, Vancouver, ISO, and other styles
40

Laderman, David. ": The Road Movie Book . Steven Cohan, Ina Rae Hark." Film Quarterly 52, no. 2 (December 1998): 58–60. http://dx.doi.org/10.1525/fq.1998.52.2.04a00150.

Full text
APA, Harvard, Vancouver, ISO, and other styles
41

Rueda, Carolina. "The Latin American (counter -) road movie and ambivalent modernity." Transnational Screens 10, no. 2 (April 26, 2019): 132–34. http://dx.doi.org/10.1080/25785273.2019.1602348.

Full text
APA, Harvard, Vancouver, ISO, and other styles
42

Coulibaly, Adama. "Road movie et construction d’un discours interculturel dans The Adventures of Priscilla, Queen of the Desert." Cinémas 18, no. 2-3 (August 4, 2008): 89–100. http://dx.doi.org/10.7202/018553ar.

Full text
Abstract:
Résumé L’émiettement du corps social et la constitution d’un espace et d’un temps des tribus (Maffesoli 2000) sont les signes d’une décomposition et d’une recomposition des univers culturels ainsi que des rapports que ceux-ci entretiennent entre eux. The Adventures of Priscilla, Queen of the Desert (1994) de Stephan Elliott peut se lire comme une mise en scène de ce dynamisme social par la convocation d’une culture de la périphérie, la culture gay, dans le canevas d’un genre typé : le road movie. Cet article tente la lecture de la problématique culturelle par le prisme technique du road movie et de ses aménagements esthétiques et sociaux. En effet, dans ce film, la culture homosexuelle est livrée on the road, mais aussi dans ses rapports à la société. Si le road movie permet une allégorisation du parcours, il met surtout en évidence les rapports interculturels, dont les manifestations se placent sous le sceau du conflit mais aussi sous celui d’une complémentarité dont il faut analyser les modalités et les performances pour comprendre qu’en définitive, questionner cette (inter)culture révèle combien la culture est de nature sédimentaire.
APA, Harvard, Vancouver, ISO, and other styles
43

García Ochoa, Santiago. "La road movie como modelo transnacional y su presencia en el cine español: marco metodológico y principales aportaciones." Boletín de Arte, no. 37 (November 19, 2017): 79–88. http://dx.doi.org/10.24310/bolarte.2016.v0i37.3560.

Full text
Abstract:
El presente artículo defiende que los estudios transnacionales constituyen el marco metodológico idóneo para el estudio de la espectacular difusión de la road movie, un género nacido en EE. UU. durante la década de los 60, al menos a través de tres vías: la contraposición entre lo nacional y lo transnacional, lo transnacional entendido como fenómeno regional y el protagonismo de las migraciones en los cines postcoloniales. Finalmente se aborda el desarrollo de la road movie en España y se repasan los principales trabajos académicos sobre el tema.
APA, Harvard, Vancouver, ISO, and other styles
44

Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.

Full text
Abstract:
Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent avant-garde films, James Benning’s Easy Rider (2012) and Jessica Bardsley’s Goodbye Thelma (2019), within the framework of remake and adaptation studies and proposes that both works function as acknowledged and transformed remakes of the classic road movies, in which the outcome radically differs from the original story and crosses the temporal and spatial boundaries of the genre. In doing so, the projects fit in with the broader tradition of cinematic reworking and recycling as they continuously reference and exploit earlier films by creating their alternative versions as well as a strong sense of place and movement.
APA, Harvard, Vancouver, ISO, and other styles
45

Brandão, Ludmila. "Des rumeurs d’une culture mondialisée. Réflexions sur le film Historias Mínimas." Cinémas 18, no. 2-3 (August 4, 2008): 143–63. http://dx.doi.org/10.7202/018556ar.

Full text
Abstract:
Résumé Historias Mínimas, du cinéaste Carlos Sorín, a pour cadre la Patagonie argentine, et narre trois histoires qui se croisent légèrement entre des habitants de la région se déplaçant du petit village de Fitz Roy vers la ville de San Julián. L’objet de cette étude a pour but d’analyser, d’un côté, le genre cinématographique connu comme road movie et de l’autre, le phénomène d’interculturalité que le genre semble favoriser. En dépit du fait qu’Historias Mínimas ne résiste pas aux deux analyses — du point de vue de l’échelle des déplacements, le film ne peut pas être considéré comme un road movie « classique » et du point de vue des situations de l’interculturalité, il ne peut pas non plus être entièrement classé comme road movie interculturel —, le film se révèle compatible avec le genre, dans la mesure où il présente la même matrice compositionnelle et permet de plus l’analyse du phénomène interculturel dans sa forme moderne provoquée par les processus « globalisateurs » et leurs flux mondiaux d’images, d’idées et de technologies, outre les flux classiques d’argent, de marchandises et de personnes.
APA, Harvard, Vancouver, ISO, and other styles
46

Scatton-Tessier, Michelle. "The French Road Movie: Space, Mobility, Identity by Neil Archer." French Review 87, no. 2 (2013): 205–6. http://dx.doi.org/10.1353/tfr.2013.0293.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Molfetta, Andrea C. "La reversión del road movie en el cine de Campusano." Significação: Revista de Cultura Audiovisual 45, no. 49 (April 27, 2018): 167. http://dx.doi.org/10.11606/issn.2316-7114.sig.2018.137969.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

Ramadhan, Tri Rachmad, Nurmala Dewi, and Aprilia Aprilia. "THE PORTRAYAL LOVE AND SAD OF CHARACTER’S EMOTIONAL IN REVOLUTIONARY ROAD MOVIE." MEMACE: Jurnal Linguistik, Pendidikan Bahasa Indonesia, dan Asing 1, no. 3 (September 29, 2023): 91–96. http://dx.doi.org/10.55681/memace.v1i3.1550.

Full text
Abstract:
The choice of research object in the film Revolutionary Road is because the narrative contained in the film Revolutinary Road discusses matters that are very closely related to the phenomenon of mental readiness in households as is often the case in Indonesian society today.In this thesis there is a formulation of the problem, namely how the writer tries to discuss the emotions reflected in the character of April Wheeler in the film entitled Revolutionary Road, as well as explaining the factors that cause emotions to arise in this character. The type of research used in this study is a qualitative descriptive approach method obtained through library research. The conclusion of this thesis is that the author explains what emotions are reflected in the character April in the film Revolutionary Road by associating several types of emotions namely Happiness, Love, Sadness, Anger, Fear, Surprise response, Hate, Mood, and Tempramen. Regarding the emotional disturbance experienced by the character April. In addition, explaining the internal factors according to Hurlock and Cole (as quoted by Rismalinda, 2017, p.248) regarding the emotional disturbance experienced by the character April.
APA, Harvard, Vancouver, ISO, and other styles
49

Jingyan, Lv. "Analysis of aesthetic characteristics of road movies under perspective of atmosphere aesthetics with the movie “Paris, Texas” as an example." OOO "Zhurnal "Voprosy Istorii" 2023, no. 6-2 (June 1, 2023): 260–69. http://dx.doi.org/10.31166/voprosyistorii202306statyi43.

Full text
Abstract:
This article is based on the analysis of the road film directed by Wenders “Paris, Texas" and studies the director's methods and ideas of creating atmosphere, and the audience's viewpoint of interpreting atmosphere.
APA, Harvard, Vancouver, ISO, and other styles
50

Vanni, Fabio. "Il padre d"Italia." Ricerca Psicoanalitica 28, no. 3 (January 13, 2020): 109–11. http://dx.doi.org/10.4081/rp.2017.166.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Road movie' for other source types:
Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography