An Ostrich, a Backhoe and a few Ski-Doos: Tracking the Road Movie in Quebec and Beyond

Cinéma-monde ◽  
2018 ◽  
Author(s):  
Thibaut Schilt
Keyword(s):  
The Road ◽  
Saint Lawrence River ◽  
Road Movies ◽  
Ubiquitous Presence

This chapter focuses on the presence of the road movie in Quebec cinema. The province’s grands espaces, its famous snowy winters, and the ubiquitous presence of the Saint Lawrence River in the life of its citizens make for a propitious and particularly cinegenic exploration of mobility within the region. After tracing in a preliminary section the cinematic antecedents of Quebec’s contemporary road movies, three films are analysed separately: Stéphane Lafleur’s En terrains connus/Familiar Ground (2011), Philippe Falardeau’s Congorama (2006) and Denis Chouinard’s L’ange de goudron/Tar Angel (2001). The intent is to highlight some of the unique contours and distinct cinematic viewpoints of the francophone province, to assess the varying degrees to which the films’ Québécité takes centre stage, and to ponder Quebec cinema’s place within the larger cinéma-monde category.

Fathers and Sons Reunited: Road Movies as Stories of Generational Continuity

2015 ◽  
pp. 133-146
Author(s):  
Tommi Römpötti
Keyword(s):  
Subject Matter ◽  
Film Festival ◽  
The Road ◽  
Road Movies ◽  
Fathers And Sons ◽  
Generational Continuity ◽  
Father And Son

This chapter asks what happens to the conventions of the road movie, and in particular its ethos of resistance, when younger and older generations hit the road together in Nordic films of the 2000s. In raising this question I discuss the use of road movie conventions in two Finnish road movies, the fictional Road North (Mika Kaurismäki, 2012) and the documentary Finnish Blood Swedish Heart (Mika Ronkainen, 2012), which both feature stories of father–son pairings driving together towards a new kind of understanding of their roots. The films offer two ways to see how road movies, in essence, work between the national and the transnational. Road North depicts a road journey inside the borders of Finland. Finnish Blood Swedish Heart, in comparison, is profoundly transnational anyway in its subject matter of a father and son duo driving from Finland to their past in Sweden, but film was also financed as a Finnish–Swedish co-production and, before being awarded as the best Finnish documentary of the year, it received the Dragon award for the best Nordic documentary at the Gothenburg International Film Festival 2013.

scholarly journals On the Road to Multiculturalism

2006 ◽  
Author(s):  
Gisela Hoecherl-Alden
Keyword(s):  
National Culture ◽  
Point Of View ◽  
Cultural Groups ◽  
Visual Narratives ◽  
The Road ◽  
Swiss German ◽  
Unique Model ◽  
On The Road ◽  
Road Movies

ON THE ROAD TO MULTICULTURALISM: CHALLENGING CONCEPTS OF NEUTRALITY AND TOLERANCE IN SWISS-GERMAN CIEMA Switzerland, which prides itself on its political neutrality, democratic ethos and multilingualism, has long been celebrated as a unique model for the peaceful co-existence of diverse cultural groups residing within autonomous cantons (see Altermatt et. al. 1998). Yet by exploring the national culture, transgressing boundaries, and mapping life-transforming experiences, three Swiss-German films challenge this commonly accepted image of their nation. Although not road movies in the sense that the primary movement is shot from a vehicle's point of view (see Laderman 2002: 13), the films Die Schweizermacher (The Swissmakers, Switzerland, 1978) by Rolf Lyssy, Reise der Hoffnung (Journey of Hope, Switzerland-Turkey, 1990) by Xavier Koller, and Pastry, Pain and Politics (Switzerland, 1998) by Stina Werenfels nevertheless integrate road imagery and mobility into their political and visual narratives. The journeys undertaken are "a means of cultural...

The End of the Road? Dark Routes and Urban Passageways

2016 ◽  
Author(s):  
Michael Gott
Keyword(s):  
European Union ◽  
The European Union ◽  
The Road ◽  
Road Movies ◽  
Vantage Points

Chapter 5 changes directions to consider the flip side of the European mobility boom. The chapter analyses three films whose protagonists are migrants from beyond the European Union: Hope (Boris Lojkine, 2014, France), Illégal (Olivier Masset-Depasse, 2010, Belgium/France/Luxembourg) and Marussia (Eva Pervolovici, 2012, France/Russia). It argues that these films – even when they narrate the lives of protagonists already in Europe – are filmed as road movies or continuations thereof. In earlier chapters it was argued that road cinema is defined first and foremost by an emphasis on ‘travelling shots’. This chapter considers how the generally panoramic vantage points of road cinema are represented in migrant road films, in which travellers are often granted solely or primarily limited viewpoints and sightlines.

scholarly journals The Atlantic Prehistory of Private International Law: Trading Companies of the New World and the Pursuit of Restitution in England and France, 1613–43

Itinerario ◽  
2017 ◽  
Vol 41 (3) ◽  
pp. 452-483 ◽  
Author(s):  
Edward Cavanagh
Keyword(s):  
Nineteenth Century ◽  
International Law ◽  
Case Studies ◽  
New World ◽  
The Other ◽  
Private International Law ◽  
The Road ◽  
Saint Lawrence River ◽  
Private Actors ◽  
Different Parts

This article concerns itself with the kind of legal conflicts that broke out in the Atlantic New World between merchant interests from different parts of Europe. Case studies are made of two disputes: one between Samuel Argall of the Virginia Company and a factor on behalf of Antoinette de Pons at the Île des Monts-Déserts, and the other between the Compagnie de Caën and the Kirke brothers at the Saint Lawrence River. Together, these case studies reveal how important it was for merchant interests to have resident ambassadors and state officials advancing their interests in England and France. Procedural difficulties and jurisdictional uncertainty often impeded the road to redress. Additionally, this article suggests that the peacetime reckoning of events associated with warfare provided an optimal opportunity for disaffected private actors to have their claims for redress recognised. The extent to which private overtures for restitution relied upon public acts of diplomacy reveals some of the reasons why it is not possible to date the origins of private international law before the long nineteenth century. Rather we might profitably identify, in events such as these, the prehistory of private international law.

Mapping the Hybrid European Road: French Connections, European Traditions and American Influence?

2016 ◽  
Author(s):  
Michael Gott
Keyword(s):  
West Germany ◽  
French Language ◽  
The Road ◽  
Wim Wenders ◽  
American Films ◽  
Road Movies ◽  
The 1960S

This chapter set the stage for an exploration of contemporary French-language European road movies by tracing the interwoven lines of the tradition in its American and European iterations back to the 1960s, the period during which the template for contemporary road cinema crystalized. It argues that the contours of the road movie tradition are not strictly the product of a direct lineage from seminal American films from the late 1960s, such as Easy Rider (Dennis Hopper, 1969, USA), but the result of complex transnational interactions within European cinemas and between European and American cultures. The films covered are Il Sorpasso (Dino Risi, 1962, Italy), Le corniaud/The Sucker (Gérard Oury, 1965, France/Italy) Les petits matins/Hitch-Hike (Jacqueline Audry, 1962, France), Im Lauf der Zeit/Kings of the Road (Wim Wenders, 1977, West Germany), Leningrad Cowboys Go America (Aki Kaurismäki,1989, Finland/Sweden) and Lisbon Story (Wim Wenders, 1994, Germany/Portugal).

Romancing the Road: Road Movies and Images of Mobility

1995 ◽  
Vol 12 (1) ◽  
pp. 53-79 ◽  
Author(s):  
Ron Eyerman ◽  
Orvar Löfgren
Keyword(s):  
The Road ◽  
Road Movies

The road movies of the New Romanian Cinema

2012 ◽  
Vol 3 (1) ◽  
pp. 23-40 ◽  
Author(s):  
Lucian Georgescu
Keyword(s):  
The Road ◽  
Road Movies ◽  
Romanian Cinema

scholarly journals En transición: Las primeras road movies del cine español (1975-1978)

Liño ◽  
2019 ◽  
Vol 25 (25) ◽  
pp. 115
Author(s):  
Santiago García Ochoa
Keyword(s):  
The Road ◽  
On The Road ◽  
Road Movies

La road movie es un género muy ligado a la cultura norteamericana que surge a finales de los 60 y rápidamente se difunde por las cinematografías de todo el mundo. En el cine español su aparición no se produce hasta mediados de la década de los 70, coincidiendo con los primeros años de la transición a la democracia (1975-1978) y la ideologización de los géneros populares, debido al retraso industrial y de las infraestructuras, pero fundamentalmente por la inexistencia de una imagen de la carretera como espacio de búsqueda y de reafirmación individual. En este artículo se analizan las cuatro películas fundacionales del cine español on the road.

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