Hd Road Movie Movies 1080p Download
Toccara Delacerda
A road movie is a film genre in which the main characters leave home on a road trip, typically altering the perspective from their everyday lives.[2] Road movies often depict travel in the hinterlands, with the films exploring the theme of alienation and examining the tensions and issues of the cultural identity of a nation or historical period; this is all often enmeshed in a mood of actual or potential menace, lawlessness, and violence,[3] a "distinctly existential air"[4] and is populated by restless, "frustrated, often desperate characters".[5] The setting includes not just the close confines of the car as it moves on highways and roads, but also booths in diners and rooms in roadside motels, all of which helps to create intimacy and tension between the characters.[6] Road movies tend to focus on the theme of masculinity (with the man often going through some type of crisis), some type of rebellion, car culture, and self-discovery.[7] The core theme of road movies is "rebellion against conservative social norms".[5]
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 tracking shot, [and] wide and wild open space" are important iconography elements, similar to a Western movie.[9] As well, the road movie is similar to a Western in that road films are also about a "frontiersmanship" and about the codes of discovery (often self-discovery).[9] Road movies often use the music from the car stereo, which the characters are listening to, as the soundtrack[10] and in 1960s and 1970s road movies, rock music is often used (e.g., Easy Rider from 1969 used a rock soundtrack [11] of songs from Jimi Hendrix, The Byrds and Steppenwolf).
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).
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]
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 Spike Lee's Get on the Bus (1996) being a notable exception, as its main characters are African-American men on a bus travelling to the Million Man March (the film depicts the historic role of buses in the US civil rights movement).[20] Asian-American filmmakers have used the road movie to examine the role and treatment of Asian-Americans in the United States; examples include Wayne Wang's Chan Is Missing (1982), about a taxi driver trying to find about the Hollywood detective character Charlie Chan, and Abraham Lim's Roads and Bridges (2001), about an Asian-American prisoner who is sentenced to clean up garbage along a Midwestern highway.[21]
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.[23] With the increasing depiction of racial minorities in Australian road movies, the "No Road" subgenre has also been associated with Asian-Australian films that depict travel using routes other than roads (e.g., the 2010 film Mother Fish, which depicts travel over water as it tells the story of the boat people refugees).[23] The iconography of car crashes in many Australian road movies (particularly the Mad Max series) has been called a symbol of white-Indigenous violence, a rupture point in the narrative which erases and forgets the history of this violence.[23]
Asian-Canadian filmmakers have made road films about the experience of Canadians of Asian origin, such as Ann Marie Fleming's The Magical Life of Long Tak Sam, which is about her search for her "Chinese grandfather, an itinerant magician and acrobat".[21] Other Asian-Canadian road movies look at their relatives experiences during the 1940s internment of Japanese Canadians by the Canadian government (e.g., Lise Yasui's Family Gathering (1988), Rea Tajiri's History and Memory (1991) and Janet Tanaka's Memories from the Department of Amnesia (1991).[21]
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 Mller 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]
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 aos brbaros, 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 Martin Scorsese's Alice Doesn't Live Here Anymore (1974), Jonathan Demme's Crazy Mama (1975), Ridley Scott's Thelma & Louise (1991), and Herbert Ross' Boys on the Side (1995), in that they show a "less traditional" and more "visible, innovative, introspective, and realistic" type of woman onscreen.[37] Spanish road movies about women include Hola, ests sola?, Lisboa, Fugitivas, Retorno a Hansala, and Sin Dejar Huella address social issues about women, such as the "injustice and mistreatment" that women experience under "authoritarian patriarchal order."[38] Fugitivas depicts an American road movie genre convention: the "disintegration of the family and the community" and the "journey of transformation", as it depicts two fugitives on the run, whose distrust fades as the two women learn to trust each other from their adventures on the road.[39] The images in the film are blend of homage to US road movie conventions (gas stations, billboards) and "recognizable Spanish types", such as the "embittered drunkard".[40]
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