Suchergebnisse

"Acknowledgements" -- "Contents" -- "Notes on Contributors" -- "List of Figures" -- "Chapter 1: Introduction: Reconfiguring Precarious Landscapes: The Road Movie in Latin America" -- "The Latin American Road Movie: Readings and Genealogies" -- "Latin American Modernity on the Road and in the Spotlight" -- "Heterogeneous Territories: Mapping Class, Race, Gender, and Sexuality" -- "Regional Techniques and Local Iconographies" -- "Notes" -- "Work Cited" -- "Filmography" -- "Part I: Latin American Modernity on the Road and in the Spotlight" -- "Chapter 2: Revisiting Modernity Through the Latin American Road Movie" -- "Journeys of Discovery: Meeting Latin America's Others" -- "Changing the Path of the Nation: Progress and Revolution" -- "Global Expulsions: From Non-Place to Non-Person" -- "Roads to Modernity: Between Reality and Aspiration" -- "Notes" -- "Work Cited" -- "Filmography" -- "Chapter 3: Journey to the Ruins of Modernity: Euforia and 40 días" -- "Notes" -- "Works Cited" -- "Chapter 4: The Power of Running on Empty: On the Road in Post-Soviet Cuba" -- "A Communion of Fuel-Sharing: Guantanamera" -- "Priming the Pump of the Rest-Stop: Lista de espera" -- "The Pot-Holes of Driving Backwards: Miel para Oshún" -- "The End of the Road (Movie)? Viva Cuba" -- "Notes" -- "Works Cited" -- "Part II: The Latin American Road Movie: Readings and Genealogies" -- "Chapter 5: Recorriendo las Américas: Cars, Roads, and Latin American Cinema" -- "Notes" -- "Work Cited" -- "Filmography" -- "Chapter 6: Lonely Souls in Sólo Dios Sabe by Carlos Bolado: Pastoralism and Syncretic Spirituality in Times of Crisis" -- "The Neoliberal Nation-State on the Road" -- "Lonely Souls Hit the Road" -- "Pastoralism and Spiritual Renewal" -- "Conclusion" -- "Notes" -- "Work Cited".

Vikingo (Argentina, 2009), from Campusano, is a case of reversal of the road movie made by the community cinema of Buenos Aires, understood as a driver of social inclusion, as a visibility and self-legitimation that empowers social sectors where it is developed. This inclusion is seen in the emancipated production of singular aesthetic contents and appropriations, symbolic production understood as political action given the struggle that it incarnates against the stigmatizations of poverty done by other cinemas and mass media. Campusano reverses the road movie to initiate an ethical discussion on characters who inhabit a landscape of corrupt institutions and violence. ; Vikingo (Argentina, 2009), de Campusano, es un caso de reversión del road movie realizada por el cine comunitario de Buenos Aires, entendido como impulsor de inclusión social, como estrategia de visibilidad y autolegitimación que empodera a los sectores sociales donde se desarrolla. Esta inclusión se aprecia en la producción emancipada de contenidos y apropiaciones estéticas singulares, producción simbólica entendida como acción política dada la lucha que encarna contra las estigmatizaciones que otros cines y medios masivos hacen de la pobreza. Campusano reversiona el road movie para plantear una discusión ética sobre personajes que habitan un paisaje de instituciones corruptas y violencia.

Como género que tiende a aparecer en períodos de transformación y de crisis, la road movie conoció un éxito llamativo en Cuba después del derrumbe del bloque sovié- tico. Los análisis existentes se han centrado en películas aparecidas durante el llamado Período Especial, cuando la isla se enfrentó con una situación de extrema austeridad en todos los niveles de la vida. Al examinar una película posterior a este período – Personal Belongings –, este ensayo no solamente amplía el enfoque cronológico del género, sino que también se detiene en el nuevo fenómeno del cine independiente en Cuba. Mediante un análisis del papel del taxi y del sentimiento de desapego que se le asocia, se argumenta que la road movie cubana, en vez de sugerir soluciones colectivas a problemas políticos como había hecho antes, se resignifica después del 2000 como instrumento de navegación de nuevas geografías emotivas – función para la cual se propone el concepto de "geopatía". ; Road movies tend to appear in contexts marked by changes and transformations. This explains the popularity of the genre in Cuban cinema in the aftermath of the collapse of communism. While current research has focused on road movies of the so-called Special Period – marked by conditions of extreme austerity –, this article examines a film which appeared in the years after – Personal Belongings –, and which signaled the emergence of a new, independent cinema in Cuba. By analyzing the role of the taxi in this film and the feeling of disaffection this vehicle conveys, it is argued that the role of the road movie changes after the Special Period. Instead of suggesting collective answers to political problems, the genre becomes a means to explore new emotional landscapes and subjectivities – a phenomenon for which the article proposes the concept of "geopathy". ; Fil: Lie, Nadia. Universidad de Lovaina (KU Leuven)

Acknowledgments -- Contents -- List of Figures -- Chapter 1: Introduction -- The Rebirth of Latin American Cinema -- Defining the Road Movie -- The Counter-Road Movie -- Road Movies and Latin American Modernity -- Presentation of the Book -- Notes -- References -- Chapter 2: Traveling Across Latin America -- Journeys of (Self-)Discovery: Diarios de motocicleta -- The Search: El viaje -- Journeys of Flight: AmigomÍo -- Notes -- References -- Chapter 3: Nations in Crisis -- The Nation as Construct: Y tu mamÁ también (Alfonso Cuarón, 2002) -- The Nation as Legacy: Guantanamera (Toms Gutiérrez Alea and Juan Carlos Tabío, 1995)21 -- The Nation as Loss: Mundo grúa (Pablo Trapero, 1999) -- Notes -- References -- Chapter 4: The Patagonian Pull -- Stranded Journeys Outside Modernity: Alejandro Agresti, Eduardo Milewicz, and Pablo Trapero -- Inside (Hybrid) Modernity: Carlos Sorín -- The Borders of Modernity: Lisandro Alonso -- Notes -- References -- Chapter 5: Heading North: Migrants and the US-Mexican Border -- The US-Mexican Border and the Migration Road Movie -- Between the Western and the Road Movie: Los tres entierros de Melquiades Estrada/The Three Burials of Melquiades Estrada (Tomm... -- A Romantic Counter-Road Movie: Norteado (Rigoberto Perezcano, 2009) -- Between Fiction and Documentary: La jaula de oro (Diego Quemada-Díez, 2013) -- Epilogue -- Notes -- References -- Chapter 6: Internally Displaced People Roaming the Roads -- Displaced Amazonians: Iracema. Uma transa amazônica (Jorge Bodanzky and Orlando Senna, 1975) -- Relegados: La frontera (Ricardo Larraín, 1991) -- Damnificados: El chico que miente (Marité Ugs, 2010) -- Desplazados: Retratos en un mar de mentiras (Carlos Gaviria, 2010) -- Notes -- References -- Chapter 7: Gazing at Tourists -- Countering the Tourist Gaze: Qué tan lejos (Tania Hermida, 2006)

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.

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.

Como género que tiende a aparecer en períodos de transformación y de crisis, la road movie conoció un éxito llamativo en Cuba después del derrumbe del bloque soviético. Los análisis existentes se han centrado en películas aparecidas durante el llamado Período Especial, cuando la isla se enfrentó con una situación de extrema austeridad en todos los niveles de la vida. Al examinar una película posterior a este período - Personal Belongings -, este ensayo no solamente amplía el enfoque cronológico del género, sino que también se detiene en el nuevo fenómeno del cine independiente en Cuba. Mediante un análisis del papel del taxi y del sentimiento de desapego que se le asocia, se argumenta que la road movie cubana, en vez de sugerir soluciones colectivas a problemas políticos como había hecho antes, se resignifica después del 2000 como instrumento de navegación de nuevas geografías emotivas - función para la cual se propone el concepto de "geopatía". ; Road movies tend to appear in contexts marked by changes and transformations. This explains the popularity of the genre in Cuban cinema in the aftermath of the collapse of communism. While current research has focused on road movies of the so-called Special Period - marked by conditions of extreme austerity -, this article examines a film which appeared in the years after - Personal Belongings -, and which signaled the emergence of a new, independent cinema in Cuba. By analyzing the role of the taxi in this film and the feeling of disaffection this vehicle conveys, it is argued that the role of the road movie changes after the Special Period. Instead of suggesting collective answers to political problems, the genre becomes a means to explore new emotional landscapes and subjectivities - a phenomenon for which the article proposes the concept of "geopathy".