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.