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- W2483809737 abstract "This chapter, like Chapter 1, is poised at the fin de siècle and hopes to illuminate a new generation’s social and technological concerns as they are expressed along the cinematic highway. The chapter closely examines the late twentieth-century films of two filmmakers with established relationships to the cinematic road. Although their routes are different, like their cinematic predecessors of one hundred years prior, each uses the road to comment critically on the costs of modernity. Oliver Stone, whose Natural Born Killers (1994) we will explore closely, has returned repeatedly to the subject of desperate and destructive mobility since Salvador (1986). The noirish U-Turn (1997), sort of a Detour with the lid blown off, was received with very little fanfare. Its look—the film was shot using airplane surveillance stock—and its mobile generic obsessions punctuate (though it may only be a comma) a career-long and sometimes both terrified and terrifying investigation of American vulnerability. This vulnerability, Stone’s work suggests, peaks at moments of mobility: at war overseas, along the motorcade, or, as Jim Morrison’s nightmare visions in The Doors (1991) and the whole narrative trajectory of U-Turn or Natural Born Killers would have it, along the Western American highway." @default.
- W2483809737 created "2016-08-23" @default.
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- W2483809737 date "2008-01-01" @default.
- W2483809737 modified "2023-09-23" @default.
- W2483809737 title "Roads and Movies as Another Century Turns" @default.
- W2483809737 cites W4236646794 @default.
- W2483809737 doi "https://doi.org/10.1057/9780230610217_7" @default.
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