Neil Archer - The Road Movie: In Search of Meaning

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Table of Contents

SHORT CUTS

INTRODUCTIONS TO FILM STUDIES

OTHER SELECT TITLES IN THE SHORT CUTS SERIES

THE HORROR GENRE: FROM BEELZEBUB TO BLAIR WITCH Paul Wells

THE STAR SYSTEM: HOLLYWOODS PRODUCTION OF POPULAR IDENTITIES Paul McDonald

SCIENCE FICTION CINEMA: FROM OUTERSPACE TO CYBERSPACE Geoff King and Tanya Krzywinska

EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA David Gillespie

READING HOLLYWOOD: SPACES AND MEANINGS IN AMERICAN FILM Deborah Thomas

DISASTER MOVIES: THE CINEMA OF CATASTROPHE Stephen Keane

THE WESTERN GENRE: FROM LORDSBURG TO BIG WHISKEY John Saunders

PSYCHOANALYSIS AND CINEMA: THE PLAY OF SHADOWS Vicky Lebeau

COSTUME AND CINEMA: DRESS CODES IN POPULAR FILM Sarah Street

MISE-EN-SCNE: FILM STYLE AND INTERPRETATION John Gibbs

NEW CHINESE CINEMA: CHALLENGING REPRESENTATIONS Sheila Cornelius with Ian Haydn Smith

ANIMATION: GENRE AND AUTHORSHIP Paul Wells

WOMENS CINEMA: THE CONTESTED SCREEN Alison Butler

BRITISH SOCIAL REALISM: FROM DOCUMENTARY TO BRIT GRIT Samantha Lay

FILM EDITING: THE ART OF THE EXPRESSIVE Valerie Orpen

AVANT-GARDE FILM: FORMS, THEMES AND PASSIONS Michael OPray

PRODUCTION DESIGN: ARCHITECTS OF THE SCREEN Jane Barnwell

NEW GERMAN CINEMA: IMAGES OF A GENERATION Julia Knight

EARLY CINEMA: FROM FACTORY GATE TO DREAM FACTORY Simon Popple and Joe Kember

MUSIC IN FILM: SOUNDTRACKS AND SYNERGY Pauline Reay

MELODRAMA: GENRE, STYLE, SENSIBILITY John Mercer and Martin Shingler

FEMINIST FILM STUDIES: WRITING THE WOMAN INTO CINEMA Janet McCabe

FILM PERFORMANCE: FROM ACHIEVEMENT TO APPRECIATION Andrew Klevan

NEW DIGITAL CINEMA: REINVENTING THE MOVING IMAGE Holly Willis

THE MUSICAL: RACE, GENDER AND PERFORMANCE Susan Smith

TEEN MOVIES: AMERICAN YOUTH ON SCREEN Timothy Shary

FILM NOIR: FROM BERLIN TO SIN CITY Mark Bould

DOCUMENTARY: THE MARGINS OF REALITY Paul Ward

THE NEW HOLLYWOOD: FROM BONNIE AND CLYDE TO STAR WARS Peter Krmer

ITALIAN NEO-REALISM: REBUILDING THE CINEMATIC CITY Mark Shiel

WAR CINEMA: HOLLYWOOD ON THE FRONT LINE Guy Westwell

FILM GENRE: FROM ICONOGRAPHY TO IDEOLOGY Barry Keith Grant

ROMANTIC COMEDY: BOY MEETS GIRL MEETS GENRE Tamar Jeffers McDonald

SPECTATORSHIP: THE POWER OF LOOKING ON Michele Aaron

SHAKESPEARE ON FILM: SUCH THINGS THAT DREAMS ARE MADE OF Carolyn Jess-Cooke

CRIME FILMS: INVESTIGATING THE SCENE Kirsten Moana Thompson

THE FRENCH NEW WAVE: A NEW LOOK Naomi Greene

CINEMA AND HISTORY: THE TELLING OF STORIES Mike Chopra-Gant

GERMAN EXPRESSIONIST CINEMA: THE WORLD OF LIGHT AND SHADOW Ian Roberts

FILM AND PHILOSOPHY: TAKING MOVIES SERIOUSLY Daniel Shaw

CONTEMPORARY BRITISH CINEMA: FROM HERITAGE TO HORROR James Leggott

RELIGION AND FILM: CINEMA AND THE RE-CREATION OF THE WORLD S. Brent Plate

FANTASY CINEMA: IMPOSSIBLE WORLDS ON SCREEN David Butler

FILM VIOLENCE: HISTORY, IDEOLOGY, GENRE James Kendrick

NEW KOREAN CINEMA: BREAKING THE WAVES Darcy Paquet

FILM AUTHORSHIP: AUTEURS AND OTHER MYTHS C. Paul Sellors

THE VAMPIRE FILM: UNDEAD CINEMA Jeffrey Weinstock

HERITAGE FILM: NATION, GENRE AND REPRESENTATION Beln Vidal

QUEER CINEMA: SCHOOLGIRLS, VAMPIRES AND GAY COWBOYS Barbara Mennel

ACTION MOVIES: THE CINEMA OF STRIKING BACK Harvey OBrien

BOLLYWOOD: GODS, GLAMOUR AND GOSSIP Kush Varia

THE SPORTS FILM: GAMES PEOPLE PLAY Bruce Babington

THE HEIST FILM: STEALING WITH STYLE Daryl Lee

INTERNATIONAL POLITICS AND FILM: SPACE, VISON, POWER Sean Carter & Klaus Dodds

FILM THEORY: CREATING A CINEMATIC GRAMMAR Felicity Colman

BIO-PICS: A LIFE IN PICTURES Ellen Cheshire

FILM PROGRAMMING: CURATING FOR CINEMAS, FESTIVALS, ARCHIVES Peter Bosma

POSTMODERNISM AND FILM: RETHINKING HOLLYWOODS AESTHETICS Catherine Constable

THE ROAD MOVIE

IN SEARCH OF MEANING

NEIL ARCHER

A Wallflower Press Book

Wallflower Press is an imprint of

Columbia University Press

Publishers Since 1893

New York, Chichester, West Sussex

cup.columbia.edu

Copyright Columbia University Press 2016

All rights reserved.

E-ISBN 978-0-231-85088-9

Wallflower Press is a registered trademark of Columbia University Press.

Cover image: Easy Rider (1969) Columbia Pictures

A complete CIP record is available from the Library of Congress

ISBN 978-0-231-17647-7 (pbk. : alk. paper)

ISBN 978-0-231-85088-9 (e-book)

A Columbia University Press E-book.

CUP would be pleased to hear about your reading experience with this e-book at .

CONTENTS

My thanks above all to Yoram Allon, Commissioning Editor at Wallflower Press, for taking the time to hear my improvised book proposal for the Short Cuts series one morning in 2014, and then asking me to go ahead and do it. Its been an honour to add my own contribution to this great list.

Thanks also to Luke Hare and family, whose home-from-home on the Putney Delta during the early 1990s impacted on the ideas behind this book, in ways Im only just discovering.

And finally, thanks to those other once and sometime residents of SW15, Giulia and Noa, for most other things. Noas declared pre-school ambition to become a jungle-exploring artist has been no little source of inspiration during this writing period.

Neil Archer

January 2016

Two men on motorcycles cruising the open highway, panoramic vistas expanding around them. An outlaw couple, seen through the windscreen of their open-top convertible, one staring out front with hands clamped to the wheel, the other looking anxiously behind. Or from the reverse angle: the silhouettes of two hot-rodders behind the dashboard, hair trailing in the breeze from the open window, road signs and landscape speeding past their fixed gaze and ours.

All three of these examples are recognisably from the genre we have come to identify as the road movie. If the first does not instantly call to mind any number of moments in Easy Rider (1969), the chances are you have not seen it yet. We might recognise the second from somewhere near the end of Thelma and Louise (1991), while the third is a recurring shot from Two-Lane Blacktop (1971). Saying these are typical images of the road movie, though, begs the question what it is at all that identifies these films as road movies. To say simply that we know a road movie when we see one, as the beginning of this book has in fact invited you to do, suggests a very circular logic in the way we identify and discuss genre.

At the same time, it is important to work out what it is that instantly suggests road movie to our eyes and ears when we watch a film, or conjure up moving images such as the ones described above. But just as importantly, we need to ask what is the point of identifying and naming such a thing. If we are going to explore the road movie as a genre, in other words, we need to work out not just what a road movie is, but what it and the generic terminology around it actually

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