Driving Vision: Exploring the Road Movie.
“Overall the European road movie associates road traveling with introspection rather than violence and danger. Put differently, traveling outside of society becomes less important (and perhaps less possible) than traveling into the national culture, tracing the meaning of citizenship as a journey ” (David 248). In fact, the road movie is formulated in the different culture, economy, history, and politics. The European road movie introspects their life and standpoint, more than violence. The American road movie presents the interaction of the American. The road movie should be developed in the different approach stories in the different communities, societies, and nations. However, the globalization might only assimilate the various stories.
Romance of the Road
“…. The quest is not so manic, the goals are more realistic, and the state of mind is more even. In travel narratives from the 19th century to present American road narratives, women have attempted to correct what they felt was going wrong with the quest”(Ronald 116). In fact, the American Road movie and story are not completely until today. There is little chance to let the minority group s to claim, but mainstream still dominates the most of the media contents and discards the context of minority. Until now, the road movie is still constructing for the males, for the white values.
The Road Story and the Rebel: Moving Through Film, Fiction, and Television.
“The road story will continue to be remapped by each new generation of storytellers as they grapple with the nature of rebellion, the mobility of identity, and life in a global economy during a time of media convergence”（Katie 223）. According to the author, the road movie story will still be played, and remapped in the future. However, the storytellers are not going to completely struggle with the nature of rebellion. Because the new media and the new agent will occur, the situation will only influence the road movies to become more and more similar. As like the high concept movie have already became a universal rule to produce movie even in different countries. Therefore, the road movies might have more varies contents than before, but the purpose of those products might be only to gain more money but not the rebellion.
Thursday, October 25, 2007
Thursday, October 18, 2007
rhetorical of the american road#week8
The Road Story and the Rebel: Moving Through Film, Fiction, and Television.
“….the road story in the 1990s introduces audiences to new concepts of community, shaking up social views of gender, sexuality, and race, bringing us back, at the start of the new millennium, to the road as a space of rebellion”（Katie 187）. The road story is formulated by the contemporary thoughts of society, and there is no clear boundary of the road movie. According to Katie, the definition of road movie becomes a process of journey, not just riding a motorbike or driving a car. Therefore, the journeys in postmodern era have become more diverse than before.
Katie always thinks that the females joined to write the road movie resulting in women having their autonomy and mobility. She, unfortunately, forgot those stories were reproduced by the mainstream, but not women’s concepts. Katie defines the increase of women’s representation and female’s authors are successes of the minority groups, but she forgot those women couldn’t represent different races, ages, and groups. Her mistake is that Baudrillard pointed out that “American themselves can’t [write about the American dream]. They’re confused”. Katie always applies white female success experience to all diverse groups; however, the successes could just be a false image which is reproduced from white males.
Driving Vision: Exploring the Road Movie.
“In the postmodern road movie, visionary rebellion and existential roaming become saturated with a ludic irony and tongue-in –cheek posturing…. By blurring all borders under the banner of Artifice, the postmodern road movie tends to nullify transgression, rebellion, and cultural critique (David 135).” The road movie is a dynamic genre, and has potential context to enrich itself. David thinks that the road movie has a broader meaning. It is not a genre about the road, car, and the car culture, but a journey. Therefore, there are many different models occurring in the 90s, making it difficult to define the road movie. David also mentions the road movie was affected by MTV and other media. Therefore, we can clearly observe the boundary of the road movie is getting blurred.
“….the road story in the 1990s introduces audiences to new concepts of community, shaking up social views of gender, sexuality, and race, bringing us back, at the start of the new millennium, to the road as a space of rebellion”（Katie 187）. The road story is formulated by the contemporary thoughts of society, and there is no clear boundary of the road movie. According to Katie, the definition of road movie becomes a process of journey, not just riding a motorbike or driving a car. Therefore, the journeys in postmodern era have become more diverse than before.
Katie always thinks that the females joined to write the road movie resulting in women having their autonomy and mobility. She, unfortunately, forgot those stories were reproduced by the mainstream, but not women’s concepts. Katie defines the increase of women’s representation and female’s authors are successes of the minority groups, but she forgot those women couldn’t represent different races, ages, and groups. Her mistake is that Baudrillard pointed out that “American themselves can’t [write about the American dream]. They’re confused”. Katie always applies white female success experience to all diverse groups; however, the successes could just be a false image which is reproduced from white males.
Driving Vision: Exploring the Road Movie.
“In the postmodern road movie, visionary rebellion and existential roaming become saturated with a ludic irony and tongue-in –cheek posturing…. By blurring all borders under the banner of Artifice, the postmodern road movie tends to nullify transgression, rebellion, and cultural critique (David 135).” The road movie is a dynamic genre, and has potential context to enrich itself. David thinks that the road movie has a broader meaning. It is not a genre about the road, car, and the car culture, but a journey. Therefore, there are many different models occurring in the 90s, making it difficult to define the road movie. David also mentions the road movie was affected by MTV and other media. Therefore, we can clearly observe the boundary of the road movie is getting blurred.
Thursday, October 11, 2007
rhetorical of the american road#week7
Road Story and the Rebel: Moving Through Film, Fiction, and Television.
“Even though these road films dismantle notions of identity as fixed, we have seen that high budget entertainments are likely to focus-up until the nineties- on the protagonists…..Then follows a decade in which minority directors exert their power….to show new ways to recognize race, sexuality, and gender”（Katie 192）. Actually, the road movie in the 90s has wider themes than before, but it still does not the issue of race. The issue of race, class, and gender are related to these images on the screen, but more importantly, how those images are represented, what conditions those images are sitting in, and how power relationships differ between races.
During the 90s, women had greater opportunity to enter the film industry, but the population of minority groups in the film industry is lower than white people. Even though there are some black road films in the early 90s, the road movie seems to lack diverse people. For example, there is no Native American road movie in the 90s. Moreover, the Asian American is always presented as a negative character. Compared to the number of females involved in the evolution of film industry in the 80s, the members of minority groups entering the film industry are relatively few in the 90s.
Romance of the Road: The Literature of the American Highway.
The Author, Primeau, mentions that “the road is freedom from schedules, commitments, memberships, and credentials; the high way journey also suspends for a while definition according to one’s origins, profession, and geography.（Primeau 69）” However, the road is not limited, and the road is not absolutely freed from any society. It offers people multiple options in the relative society, and also gives people multiple perspectives on the road. Primeau thinks journeys can help people discover themselves and build identity. However, I believed that journeys could just help the authors build personal identities, but not influence those of the audiences.
There are many different reasons hailing people to be on the road and most reasons are related escape, experimental structure, and self reflexive parody（Primeau 89）. However, coming home is a very common feature and result of the road story.
“Even though these road films dismantle notions of identity as fixed, we have seen that high budget entertainments are likely to focus-up until the nineties- on the protagonists…..Then follows a decade in which minority directors exert their power….to show new ways to recognize race, sexuality, and gender”（Katie 192）. Actually, the road movie in the 90s has wider themes than before, but it still does not the issue of race. The issue of race, class, and gender are related to these images on the screen, but more importantly, how those images are represented, what conditions those images are sitting in, and how power relationships differ between races.
During the 90s, women had greater opportunity to enter the film industry, but the population of minority groups in the film industry is lower than white people. Even though there are some black road films in the early 90s, the road movie seems to lack diverse people. For example, there is no Native American road movie in the 90s. Moreover, the Asian American is always presented as a negative character. Compared to the number of females involved in the evolution of film industry in the 80s, the members of minority groups entering the film industry are relatively few in the 90s.
Romance of the Road: The Literature of the American Highway.
The Author, Primeau, mentions that “the road is freedom from schedules, commitments, memberships, and credentials; the high way journey also suspends for a while definition according to one’s origins, profession, and geography.（Primeau 69）” However, the road is not limited, and the road is not absolutely freed from any society. It offers people multiple options in the relative society, and also gives people multiple perspectives on the road. Primeau thinks journeys can help people discover themselves and build identity. However, I believed that journeys could just help the authors build personal identities, but not influence those of the audiences.
There are many different reasons hailing people to be on the road and most reasons are related escape, experimental structure, and self reflexive parody（Primeau 89）. However, coming home is a very common feature and result of the road story.
Thursday, October 04, 2007
rhetorical of the american road#week6
The Road Story and the Rebel: Moving Through Film, Fiction, and Television.
The most difference of the 70’s road movie is that women become a very important element on the screen and women behind the scenes. Before the 70s, the females’ characters are negative pictures related with sex, mute, and naïve. Fortunately, the changes of the dynamic 70s bring the blooming effects of the females’ images of the road movie. The division of labor, the France’s New Wave, the increasing mobility, and the female autonomy are not only elaborating to improve the position of female on the screen, but also develop their position in the film industry.
In this era, the new generation director of Hollywood used their experience or the experience form their wives, girlfriends, and families to create their road movies. Those experiences directly present the disadvantages of female’s daily life. The issue of rape, abortion, and sexual autonomy become core elements to challenge the social patriarchy. Although the 70s road movie contains gender issue and turns to a positive approach, the road movie just became the white movie from white male movie. The Native American, black people, and Mexican immigration are not presented on the screen; they are still absence in the road movie.
Driving Vision: Exploring the Road Movie.
David offers an important cue, a black character named Supersoul in the Vanishing Point, to understand the 70’s road movie. Supersoul should be a landmarked for the road movie, however, it is not. Supersoul was presented as a blindness black appreciating the white main character, Kowalski. The females, fortunately, are really ready to go; the Girl chooses to move with different males. Therefore, David thinks the 70’s road movie is an empty journey which is emotional, aimless, manic, and outlawed. The 70’s road movie differs from the 60s’, the former has less definition about normal society. Without any aim, the characters do not know where they want to go, which direction they should go. It is a metaphor to point out their lost, to prove they are not heroes or heroines. Because of the film school generation, the mutations of road movie have more personal experiences, and more females’ point of view. In this era, female characters, and female film works are significant elements to remap the new figure of road movie. However, the minority groups still absent on the screen and film industry. As we know the 70s’ road movie becomes a genre of gender, but not a genre of race.
The most difference of the 70’s road movie is that women become a very important element on the screen and women behind the scenes. Before the 70s, the females’ characters are negative pictures related with sex, mute, and naïve. Fortunately, the changes of the dynamic 70s bring the blooming effects of the females’ images of the road movie. The division of labor, the France’s New Wave, the increasing mobility, and the female autonomy are not only elaborating to improve the position of female on the screen, but also develop their position in the film industry.
In this era, the new generation director of Hollywood used their experience or the experience form their wives, girlfriends, and families to create their road movies. Those experiences directly present the disadvantages of female’s daily life. The issue of rape, abortion, and sexual autonomy become core elements to challenge the social patriarchy. Although the 70s road movie contains gender issue and turns to a positive approach, the road movie just became the white movie from white male movie. The Native American, black people, and Mexican immigration are not presented on the screen; they are still absence in the road movie.
Driving Vision: Exploring the Road Movie.
David offers an important cue, a black character named Supersoul in the Vanishing Point, to understand the 70’s road movie. Supersoul should be a landmarked for the road movie, however, it is not. Supersoul was presented as a blindness black appreciating the white main character, Kowalski. The females, fortunately, are really ready to go; the Girl chooses to move with different males. Therefore, David thinks the 70’s road movie is an empty journey which is emotional, aimless, manic, and outlawed. The 70’s road movie differs from the 60s’, the former has less definition about normal society. Without any aim, the characters do not know where they want to go, which direction they should go. It is a metaphor to point out their lost, to prove they are not heroes or heroines. Because of the film school generation, the mutations of road movie have more personal experiences, and more females’ point of view. In this era, female characters, and female film works are significant elements to remap the new figure of road movie. However, the minority groups still absent on the screen and film industry. As we know the 70s’ road movie becomes a genre of gender, but not a genre of race.
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