The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick

Detalhes bibliográficos
Autor(a) principal: Rosário, Filipa
Data de Publicação: 2014
Tipo de documento: Artigo
Idioma: por
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.14591/aniki.v1n2.16
Resumo: Vanishing Point (Richard C. Sarafian, 1971), Two-lane Blacktop (Monte Hellmann, 1971) and Badlands (Terrence Malick, 1973) are road movies that incorporate distinctive journeys, which, at a certain moment, become similar. Their heroes act as non-mystical pilgrims to whom the trip is a journey in itself, even if they come up as a chase, a car race or an escape from the police.In a filmic genre built from the spatial element, the road life structures each narrative in each film. In this way, the moment when the journey looses its teleological sense acquires even more relevance, allowing us to understand the genre’s space dynamics with a different depth.In this essay, I will analyse comparatively the ways through which characters and directors relate to the scenery/landscape, in order to identify ideological constraints related to space, i.e., those symbolic limitations the road movie seems to conceal. Easy Rider (Dennis Hopper, 1969) will be a constant presence since, as the inaugural road movie, it has determined the genre’s underlying forces.
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spelling The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence MalickDinâmicas de espaço do road movie da década de 70: Richard C. Sarafian, Monte Hellman e Terrence MalickRoad MovieSpaceRichard C. SarafianMonte HellmanTerrence MalickRoad movieespaçoRichard C. SarafianMonte HellmanTerrence MalickVanishing Point (Richard C. Sarafian, 1971), Two-lane Blacktop (Monte Hellmann, 1971) and Badlands (Terrence Malick, 1973) are road movies that incorporate distinctive journeys, which, at a certain moment, become similar. Their heroes act as non-mystical pilgrims to whom the trip is a journey in itself, even if they come up as a chase, a car race or an escape from the police.In a filmic genre built from the spatial element, the road life structures each narrative in each film. In this way, the moment when the journey looses its teleological sense acquires even more relevance, allowing us to understand the genre’s space dynamics with a different depth.In this essay, I will analyse comparatively the ways through which characters and directors relate to the scenery/landscape, in order to identify ideological constraints related to space, i.e., those symbolic limitations the road movie seems to conceal. Easy Rider (Dennis Hopper, 1969) will be a constant presence since, as the inaugural road movie, it has determined the genre’s underlying forces.Vanishing Point (Richard C. Sarafian, 1971), Two-lane Blacktop (Monte Hellmann, 1971) e Badlands (Terrence Malick, 1973) são road movies que integram viagens distintas mas que, a dado momento, se assemelham. Fazem-no por via dos seus heróis, que agem como peregrinos não-místicos para quem a viagem surge como um destino em si, mesmo se revestida de perseguição, corrida de automóvel ou fuga à autoridade. Num género cinematográfico que se edifica a partir do elemento espacial, a vivência da estrada estrutura a narrativa, filme a filme. Desta forma, o momento em que a viagem perde o seu sentido teleológico adquire uma relevância acrescida, permitindo compreender com uma outra profundidade as dinâmica de espaço do género. Neste ensaio, analisarei comparativamente o modo através do qual personagens e realizadores se relacionam com o cenário/paisagem, no sentido de identificar constrangimentos ideológicos em relação ao espaço, constrangimentos esses que o road movie parece num primeiro momento ocultar. Easy Rider (Dennis Hopper, 1969) será uma presença transversal no texto uma vez que, enquanto fundador do género, fixou a lógica interna deste.AIM - Associação de Investigadores da Imagem em Movimento2014-06-21info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdftext/htmlhttps://doi.org/10.14591/aniki.v1n2.16https://doi.org/10.14591/aniki.v1n2.16Aniki: Portuguese Journal of the Moving Image; Vol 1 No 2 (2014): Art and cinema; 207-225Aniki: Revista Portuguesa da Imagem em Movimento; v. 1 n. 2 (2014): Arte e cinema; 207-2252183-1750reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttp://aim.org.pt/ojs/index.php/revista/article/view/16http://aim.org.pt/ojs/index.php/revista/article/view/16/62http://aim.org.pt/ojs/index.php/revista/article/view/16/htmlRosário, Filipainfo:eu-repo/semantics/openAccess2024-01-26T02:01:29Zoai:aim.org.pt/ojs/:article/16Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:57:08.556718Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick
Dinâmicas de espaço do road movie da década de 70: Richard C. Sarafian, Monte Hellman e Terrence Malick
title The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick
spellingShingle The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick
Rosário, Filipa
Road Movie
Space
Richard C. Sarafian
Monte Hellman
Terrence Malick
Road movie
espaço
Richard C. Sarafian
Monte Hellman
Terrence Malick
title_short The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick
title_full The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick
title_fullStr The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick
title_full_unstemmed The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick
title_sort The Road Movies' Space Dynamics in the 70s: Richard C. Sarafian, Monte Hellman and Terrence Malick
author Rosário, Filipa
author_facet Rosário, Filipa
author_role author
dc.contributor.author.fl_str_mv Rosário, Filipa
dc.subject.por.fl_str_mv Road Movie
Space
Richard C. Sarafian
Monte Hellman
Terrence Malick
Road movie
espaço
Richard C. Sarafian
Monte Hellman
Terrence Malick
topic Road Movie
Space
Richard C. Sarafian
Monte Hellman
Terrence Malick
Road movie
espaço
Richard C. Sarafian
Monte Hellman
Terrence Malick
description Vanishing Point (Richard C. Sarafian, 1971), Two-lane Blacktop (Monte Hellmann, 1971) and Badlands (Terrence Malick, 1973) are road movies that incorporate distinctive journeys, which, at a certain moment, become similar. Their heroes act as non-mystical pilgrims to whom the trip is a journey in itself, even if they come up as a chase, a car race or an escape from the police.In a filmic genre built from the spatial element, the road life structures each narrative in each film. In this way, the moment when the journey looses its teleological sense acquires even more relevance, allowing us to understand the genre’s space dynamics with a different depth.In this essay, I will analyse comparatively the ways through which characters and directors relate to the scenery/landscape, in order to identify ideological constraints related to space, i.e., those symbolic limitations the road movie seems to conceal. Easy Rider (Dennis Hopper, 1969) will be a constant presence since, as the inaugural road movie, it has determined the genre’s underlying forces.
publishDate 2014
dc.date.none.fl_str_mv 2014-06-21
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
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status_str publishedVersion
dc.identifier.uri.fl_str_mv https://doi.org/10.14591/aniki.v1n2.16
https://doi.org/10.14591/aniki.v1n2.16
url https://doi.org/10.14591/aniki.v1n2.16
dc.language.iso.fl_str_mv por
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dc.relation.none.fl_str_mv http://aim.org.pt/ojs/index.php/revista/article/view/16
http://aim.org.pt/ojs/index.php/revista/article/view/16/62
http://aim.org.pt/ojs/index.php/revista/article/view/16/html
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
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dc.publisher.none.fl_str_mv AIM - Associação de Investigadores da Imagem em Movimento
publisher.none.fl_str_mv AIM - Associação de Investigadores da Imagem em Movimento
dc.source.none.fl_str_mv Aniki: Portuguese Journal of the Moving Image; Vol 1 No 2 (2014): Art and cinema; 207-225
Aniki: Revista Portuguesa da Imagem em Movimento; v. 1 n. 2 (2014): Arte e cinema; 207-225
2183-1750
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
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repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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