From the visionary rebellion of Easy Rider to the reinvention of home in The Straight Story, the road movie has emerged as a significant film genre since the late 1960s, able to cut across a wide variety of film styles and contexts. Yet, within the variety, a certain generic core remains constant: the journey as cultural critique, as exploration beyond society and within oneself. This book traces the generic evolution of the road movie with respect to its diverse presentations, emphasizing it as an "independent genre" that attempts to incorporate marginality and subversion on many levels. David Laderman begins by identifying the road movie's defining features and by establishing the literary, classical Hollywood, and 1950s highway culture antecedents that formatively influenced it. He then traces the historical and aesthetic evolution of the road movie decade by decade through detailed and lively discussions of key films. Laderman concludes with a look at the European road movie, from the late 1950s auteurs through Godard and Wenders, and at compelling feminist road movies of the 1980s and 1990s.

All travelers know the seductive power of the open road and its suggestions of possibility, escape, renewal, and reinvention. Hit the Road, Jack is an interdisciplinary exploration of the significance of the road as reality and metaphor. Engaging with varied cultural mediums such as literature, reality television, philosophy, and political rhetoric, this collection delves deeply into the symbolic implications of the road. Insightful and accessible essays draw upon both classic "road" texts and films, while investigating themes of individual and national freedom, independence and mobility, and destiny. Referencing postmodern theory, gender and queer studies, as well as personal reminiscence and narrative research, Hit the Road, Jack considers the impact that identity - particularly race, ethnicity, gender, and sexual orientation - has on the way various journeys are taken. While literary depictions of the road have a long history, scholarship about the phenomenon is sparse. This anthology makes a significant contribution to the study of the road, bringing to light aspects of its iconic status in American culture. Contributors include Paul Attinello (Newcastle University), Stacilee Ford (University of Hong Kong), Eleanor Heginbotham (University of Maryland), Susan Kuyper (Des Moines Area Community College), Gina Marchetti (University of Hong Kong), Cotton Seiler (Dickinson University), Max J. Skidmore (University of Missouri-Kansas City), Gordon Slethaug (University of Southern Denmark), Michael Truscello (Mount Royal University), and Wendy Zierler (Hebrew Union College -Jewish Institute of Religion, New York).

What is the relationship between the road movie, American experimental filmmaking and the body?

In Fatih Akın's Cinema and the New Sound of Europe, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akın. The first minority director in Germany to receive numerous national and international awards, Akın makes films that are informed by Europe's past, provide cinematic imaginations about its present and future, and engage with public discourses on minorities and migration in Europe through his treatment and representation of a diverse, multiethnic, and multilingual European citizenry. Through detailed analyses of some of Akın's key works—In July, Head-On, and The Edge of Heaven, among others—Gueneli identifies Akın's unique stylistic use of multivalent sonic and visual components and multinational characters. She argues that the soundscapes of Akın's films—including music and multiple languages, dialects, and accents—create an "aesthetic of heterogeneity" that envisions an expanded and integrated Europe and highlights the political nature of Akın's decisions regarding casting, settings, and audio. At a time when belonging and identity in Europe is complicated by questions of race, ethnicity, religion, and citizenship, Gueneli demonstrates how Akın's aesthetics intersect with politics to reshape notions of Europe, European cinema, and cinematic history.

“The open road”—it’s a phrase that calls to mind a sense of freedom, adventure, and new possibilities that make driving one of our most liberating activities. In Drive, Iain Borden explores the way driving allows us to encounter landscapes and cities around the world. He takes particular notice of how driving is portrayed in film from America to Europe to Asia and from Hollywood to the avant-garde, covering over a century of history and referencing hundreds of movies. From the dusty landscapes of The Grapes of Wrath to the city streets of The Italian Job; from the aesthetic delights of Rain Man and Traffic to the existential musings of Thelma and Louise and Vanishing Point;from the freeway pleasures of Radio On and London Orbital to the high-speed dangers of Crash, Bullitt, and C’était un Rendezvous; this book shows how driving with different speeds, cars, roads, and cities provides experiences and challenges beyond compare. Borden concludes that as an integral part of modern life, car driving is something to be celebrated and even encouraged, making Drive a timely riposte to anti-car attitudes, and those blind to the richness of life behind the wheel.

Presents a clear, no-nonsense discussion on the realities of low vision conditions together with a practical program designed to help low vision individuals maximize their chances for retaining and/or extending their driving privileges. Also provides a detailed description of driving vision regulations in every state in the US.

Shave lap times or find a faster line through your favorite set of S-curves with professional race driver Ross Bentley as he shows you the quickest line from apex to apex! With tips and commentary from current race drivers, Bentley covers the vital techniques of speed, from visualizing lines to interpreting tire temps to put you in front of the pack. Includes discussion of practice techniques, chassis set-up, and working with your pit chief.