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Journal articles on the topic '"Road movies"'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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1

Zhang, Rongchen. "A Study on the Development and Change Strategies of Domestic Road Films in China." Highlights in Business, Economics and Management 28 (April 9, 2024): 68–74. http://dx.doi.org/10.54097/cn072212.

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The analysis in this paper focuses on the Chinese domestic road movie, a film genre that has a late but promising start in China. The material for Chinese road movies often comes from people’s lives, but some trends in recent years have proved that Chinese road movie creators are trying to use road movies to show people’s inner desires, which are different from those in the past. The purpose of studying the development and changing strategies of road films is to promote the development of Chinese-made road films in the future and to find breakthroughs for developing Chinese road films in a social environment where pressure is gradually increasing. After introducing the development of Chinese road movies at various stages, based on the status quo of Chinese road movies in the past, the author points out the problems in the development process of Chinese road movies in terms of the solidification of the mode, the mishmash of genres and the spiritual kernel that has been gradually exposed. In the face of this situation, the author makes three suggestions in the light of the spiritual core of Chinese people and the current situation of modern society.

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Kazurova, Natalia V., and Ekaterina Y. Trushkina. "THE ROAD MOVIE GENRE IN THE WEST MOVIES AND THE MUSLIM EAST CINEMATOGRAPHY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2021): 126–42. http://dx.doi.org/10.28995/2686-7249-2021-4-126-142.

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The article analyzes specific features of the Road Movie genre in a historical perspective on the example of the Western countries film production and Iran national cinematography. To that end the authors focus on genre and semantic variety of classical movies, a «proto-road-movie» and the Road Movies of nowadays. A comparative approach to the study of the genre formula provides for revealing the nuances in the stylistic techniques of directors and defining the national features of the semantic core of the Road Movie genre in both the Western movies (created in Europe and the USA) and in the films of the East (Iranian New Wave). While maintaining a number of aesthetic features that are similar in Western and Eastern Road Movies, one can nevertheless observe a significant difference in the way of representing the concept of the Path (the Road) by directors from the West and from Muslim countries. The article gives a detailed analysis of the Road concept in the context of Islamic cinema. Studying the symbolic of the Path and the Travel in Muslim tradition the authors refer to the norms of Sharia, Sufism and to the mode of the life traditions of the Middle Ages and our days. Special attention is paid to the movies of a well-known Iranian director Abbas Kiarostami. Working before and after the Islamic Revolution (1978–1979) he was the one of the founders of the New Iranian cinema.

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3

Bromley, Roger. "Traversing identity: Home movies and road movies in Paris, Texas." Angelaki 2, no. 1 (January 1997): 101–18. http://dx.doi.org/10.1080/09697259708571919.

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4

Eyerman, Ron, and Orvar Löfgren. "Romancing the Road: Road Movies and Images of Mobility." Theory, Culture & Society 12, no. 1 (February 1995): 53–79. http://dx.doi.org/10.1177/026327695012001003.

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5

Harris, Hilary. "Desert training for whites: Australian road movies." Journal of Australian Studies 29, no. 86 (January 2005): 99–110. http://dx.doi.org/10.1080/14443050509388036.

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6

Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.

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Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent avant-garde films, James Benning’s Easy Rider (2012) and Jessica Bardsley’s Goodbye Thelma (2019), within the framework of remake and adaptation studies and proposes that both works function as acknowledged and transformed remakes of the classic road movies, in which the outcome radically differs from the original story and crosses the temporal and spatial boundaries of the genre. In doing so, the projects fit in with the broader tradition of cinematic reworking and recycling as they continuously reference and exploit earlier films by creating their alternative versions as well as a strong sense of place and movement.

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7

Fendler, Ute. "Le road movie dans le contexte interculturel africain." Cinémas 18, no. 2-3 (August 4, 2008): 69–88. http://dx.doi.org/10.7202/018552ar.

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Résumé À partir des années 1990, on constate, en Afrique francophone, une hausse de la production de films que l’on peut qualifier de road movies. Mais comment s’effectue le transfert de ce genre d’origine américaine, dont les caractéristiques les plus marquantes sont l’expérience de l’espace dans le sens spatial et symbolique et la quête d’identité, dans le contexte africain ? En fait, on note que des tendances thématiques et esthétiques se manifestent à l’intérieur du champ cinématographique maghrébin et ouest-africain francophone, notamment la migration Sud-Nord, synonyme de quête d’un avenir meilleur, et le voyage Nord-Sud, synonyme de quête de racines perdues. Outre ces voyages de migration, des périples effectués au sein d’un seul pays mettent l’accent sur la diversité ethnique et culturelle africaine, ce qui est l’occasion de rencontres interculturelles. Dans ce champ cinématographique s’insèrent aussi les films d’orientation historique, légendaire ou mystique où la quête de l’identité ou même du sens de la vie est centrale. Le road movie se prête en effet particulièrement à l’illustration de l’état des sociétés en mutation ou en voie de développement de l’Afrique francophone, ce qui se manifeste par l’abondance des lieux de transit et des mouvements en suspens dans son cinéma. Mais ce genre fait également écho aux récits traditionnels de cette dernière, de telle sorte que les road movies africains s’inscrivent plutôt dans une tradition propre aux récits de voyage et d’initiation — grâce aux types de narration que suppose le road movie —, où les destins individuels sont au premier plan. L’appropriation du genre road movie par les cinéastes d’Afrique francophone représente donc aussi la possibilité de s’inscrire dans l’histoire cinématographique pour attirer l’attention sur des productions issues des cinémas dits « mineurs », le genre leur conférant une certaine visibilité auprès des critiques et des publics.

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8

Georgescu, Lucian. "The road movies of the New Romanian Cinema." Studies in Eastern European Cinema 3, no. 1 (January 2012): 23–40. http://dx.doi.org/10.1386/seec.3.1.23_1.

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9

Oh, Young Suk. "Imagined Geographies and Emotion of Korean Road Movies." Film Studies 84 (June 30, 2020): 197–228. http://dx.doi.org/10.17947/fs.2020.6.84.197.

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10

Gora, Sasha. "Buddies, Lovers, and Detours: America and its Road Movies." Review of International American Studies 14, no. 2 (December 19, 2021): 103–19. http://dx.doi.org/10.31261/rias.11809.

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Is an open road also a democratic one? Zooming in on two films—Queen & Slim (2019) and Unpregnant (2020)—this article discusses American road movie genre from the perspective of 2021, and how contemporary film narratives intersect with race and gender. One movie often drives in another film’s lane, meaning the genre is self-referential. Unfolding in three parts, the article begins by introducing these two films and surveying how they contribute to the road movie genre. It then discusses cars and clothing as characters and concludes by considering surveillance and how these films, in tandem, take the temperature of contemporary American society.

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11

Pehlivan, Erman. "Wenders in Motion: A Study On The Way Of Characterization In Wim Wenders’ Road Movies." CINEJ Cinema Journal 2, no. 2 (June 4, 2013): 82–109. http://dx.doi.org/10.5195/cinej.2013.63.

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Famous for his road movies, WimWenders, has a deeper understanding of the word; motion. More than often,Wenders tells the story of wanderers by putting them in a constant state oftravel. These travels alter thewanderers’ characters and play a key role in Wenders’ storytelling. This paperstudies Wim Wenders’ way of characterization in three parts. The first partstates out keywords to define Wim Wenders’ wanderers: movement/motion, thejourney, homesickness, spatial levels, the Ozu connection. And it mainlyfocuses on his road trilogy: Im Lauf der Zeit (1976), FalscheBewegung (1975), and Alice in den Städten (1974), whileexplaining the stated keywords. The second part only focuses on Paris, Texas(1984) and its main character Travis, who might be seen as the ultimatewanderer whom all other Wenders’ characters blend in to. Thethird and the final part takes Der Himmel Über Berlin (1987) as ‘avertical road movie’ hoping for finding a cure for the worldwide homesicknessthat all the Wenders’ wanderers suffer. Also there are a handful of musicreferences hidden through the paper in homage to director’s love for rock ‘n’roll music.

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12

Jingyan, Lv. "Analysis of aesthetic characteristics of road movies under perspective of atmosphere aesthetics with the movie “Paris, Texas” as an example." OOO "Zhurnal "Voprosy Istorii" 2023, no. 6-2 (June 1, 2023): 260–69. http://dx.doi.org/10.31166/voprosyistorii202306statyi43.

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This article is based on the analysis of the road film directed by Wenders “Paris, Texas" and studies the director's methods and ideas of creating atmosphere, and the audience's viewpoint of interpreting atmosphere.

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13

Gordon, Robert S. C. "Rings of Saturn: Fellini Rosi." Journal of Italian Cinema & Media Studies 10, no. 3 (June 1, 2022): 449–74. http://dx.doi.org/10.1386/jicms_00139_1.

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This article offers a comparative reading of Gianfranco Rosi’s Sacro GRA (‘Holy GRA’) (2013) and Federico Fellini’s Roma (1972). It sets Sacro GRA within Rosi’s career, his ambiguous identity as an ‘Italian’ filmmaker and the film’s relation to the history of cinema in/on Rome and psycho-geographical road movies. It moves on to analyse Rosi’s treatment of place and urban space, comparing key motifs and patterns in Sacro GRA with the short episode of Fellini’s Roma, also set on the GRA, Rome’s urban outer ring road. This dual reading is articulated around four axes of comparison in the construction and evocation of the ring-road space: street furniture, metacinematic frames and recordings, noises and silences, machines and monsters. Through these and other incidental constellations, the article argues that the two films display parallel, at times symmetrical, fascinations with the urban as simultaneously a space of utopia and dystopia, nature and the man-made, past and future.

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14

García Ochoa, Santiago. "En transición: Las primeras road movies del cine español (1975-1978)." Liño 25, no. 25 (July 15, 2019): 115. http://dx.doi.org/10.17811/li.25.2018.115-126.

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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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15

Liu, Yuhao. "The Code Analysis of ‘Post-Apocalyptic Era’ Movies: Take Mad Max: Fury Road as an Example." Transactions on Social Science, Education and Humanities Research 7 (May 6, 2024): 231–36. http://dx.doi.org/10.62051/7h4sd087.

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In the 88th Academy Awards, directed by George Miller, a "wasteland" theme film "Mad Max 4: Fury Road" is the world's most recognized female theme film. 50% of film history is one of the films in the explosive stage. After it won the Oscar six awards, it has become a "wasteland" theme film's new benchmark. Through semiotics and the Bible, this paper deconstructs the image codes in movies. Based on the symbolic interactionism theory, this paper analyses the character behaviour, identity construction and prop application in the Christian symbol system and combs and deconstructs it, trying to explore the symbolic metaphors in movies and reflect on the artistic value and ideological connotation contained in movies.

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16

Holohan, Conn. "Wrong turns: Radical spaces in the road movies of Tony Gatlif." Transnational Cinemas 2, no. 1 (June 1, 2011): 21–35. http://dx.doi.org/10.1386/trac.2.1.21_1.

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17

Luckman, Susan. "Road Movies, National Myths and the Threat of the Road: The Shifting Transformative Space of the Road in Australian Film." International Journal of the Humanities: Annual Review 8, no. 1 (2010): 113–26. http://dx.doi.org/10.18848/1447-9508/cgp/v08i01/42818.

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18

Jarazo Álvarez, Rubén. "“It’s fucking tiny.” Road Movies, Youth and Immobility in Derry Girls (2018–)." Atlánticas. Revista Internacional de Estudios Feministas 8, no. 1 (January 9, 2023): 192–213. http://dx.doi.org/10.17979/arief.2023.8.1.8732.

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Derry Girls (2018–present), Channel 4’s major success since Max and Paddy’s Road to Nowhere (2004), is a teen sitcom set in pre-ceasefire Northern Ireland which inevitably brings issues such as place and space to the fore by relying on teen drama tropes. This is particularly visible in “The Concert”, Derry Girls’ third episode in season two, directed by Michael Lennox and written Lisa McGee, an episode where the dominant tropes are those of a road movie but genuinely overturned upside down. Such a subversion will be directly connected to notions of space, identity and containment during the Troubles in the 1990s, as well as youth, gender, ethnicity and class divides.

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19

Boczkowska, Kornelia. "Smooth, Bumpy and Ghostly Rides: (Re)Viewing the American Landscape and Travel Imagery in Bill Morrison’s Night Highway (1990), The Death Train (1993), City Walk (1999) and Ghost Trip (2000)." Polish Journal for American Studies, no. 11 (Spring 2017) (2023): 163–82. http://dx.doi.org/10.7311/pjas.11/1/2017.12.

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In this paper I analyze various ways in which Bill Morrison’s travel films, Night Highway (1990), The Death Train (1993), City Walk (1999) and Ghost Trip (2000), tend to challenge the concept of the American landscape through the use of cinematic conventions traditionally associated with early cinema’s phantom rides as well as contemporary travel ride films and road movies. Particularly, I argue that Morrison’s experimental pictures, while simultaneously drawing on and playing with selected phantom ride, travel ride film and road movie tropes, exploit the dynamics between the spectator’s unique frontal perspective, visual mobilities and distant panoramic views as well as evoke a distorted experience of sensational and contemplative voyages, hence challenging panoramic perception and an idealized image of American (film) landscape intrinsically bound with the natural and technological sublime. To achieve this particular effect, the analyzed material incorporates such elements as deteriorated footage, manipulated travel imagery and image looping enhanced by atmospheric scores, slow and fast motion cinematography or more conventional traditions of abstract formalism.

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Berger, Verena. "‘Going Home’: mobility and return journeys in French and Spanish road movies." Transnational Cinemas 7, no. 2 (July 2, 2016): 168–82. http://dx.doi.org/10.1080/20403526.2016.1217624.

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21

Franklin, Ieuan. "Roadblocks and Roads Not Taken: Fords on Water (1983), Coast to Coast (1987) and the British Bi-racial Buddy-Road Movie." Journal of British Cinema and Television 11, no. 4 (October 2014): 440–58. http://dx.doi.org/10.3366/jbctv.2014.0228.

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This article is about two low-budget British road movies which have long disappeared from the cultural radar: Fords on Water (1983) and Coast to Coast (1987). These films will be used as case studies to explore a number of factors that shaped film and television culture in the early to mid-1980s, including the importance of the television funding of feature films in an increasingly costly climate; the shifting strategic priorities of both the British Film Institute and the BBC during a pivotal moment in the history of their film-making activities; and the issues and difficulties involved in finding the right balance between social or political critique and comedy and generic conventions. The two films are rare examples of what might be termed ‘British bi-racial buddy-road movies’. The article will focus on the attributes they share: their obscurity and unavailability; their TV funding; their genre; and their theme of an inter-racial friendship bonded over a desire to escape from boredom and unemployment in Thatcher's Britain. However, it will also tease out their very different approaches, in terms of the more subtle and the more visceral aspects of tone, humour, politics and aesthetics. Finally, the article will consider the factors which prevented these lively films from reaching the wide audience they deserved, and whether they represent two ‘roads not taken’ in the intervening period in British film culture.

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22

Gott, Michael. "Borderless possibilities, hesitant voyagers: Mapping identity in three post-1989 Czech road movies." Studies in Eastern European Cinema 3, no. 1 (January 2012): 7–22. http://dx.doi.org/10.1386/seec.3.1.7_1.

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23

Silva, Gustavo Souza da. "O rosto e a voz como inscrições do sofrimento em dois road movies." Significação: Revista de Cultura Audiovisual 44, no. 46 (December 21, 2016): 69. http://dx.doi.org/10.11606/issn.2316-7114.sig.2016.114479.

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The brown bunny (Vincent Gallo, 2003) e Viajo porque preciso, volto porque te amo (Marcelo Gomes e Karim Aïnouz, 2010) são dois filmes de estrada com muitos pontos em comum: o principal deles é o estado de espírito de seus protagonistas, Bud Clay e José Renato, que sofrem pelo término de seus relacionamentos afetivos. Diante disso, este trabalho discute o enquadramento dos road movies na seara dos gêneros cinematográficos, para, a seguir, debater como os filmes inscrevem na imagem e no som o estado emocional de seus personagens. A hipótese é de que os close-ups no rosto de Clay e os relatos orais de José Renato funcionam como catalisadores das emoções dos protagonistas nesses dois filmes.

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24

Menéndez Menéndez, María Isabel. "«El camino es la vida»: Transgresiones de género y edad en Ladies of Steel." Fonseca, Journal of Communication, no. 26 (May 31, 2023): 145–63. http://dx.doi.org/10.14201/fjc.31201.

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Ladies of Steel, largometraje de Pamela Tola, fue la película más vista del año 2020 en Finlandia y nominada como Mejor Comedia a los European Film Awards. Se trata de una road movie protagonizada por tres mujeres septuagenarias que rompe los paradigmas edadistas y la estereotipia sexista. Mediante un acercamiento de corte cualitativo y un análisis feminista, este artículo se aproxima a las variables de diferencia de las películas de carretera protagonizadas por mujeres con especial interés por la representación desde el punto de vista etario. Las conclusiones defienden que el filme desmitifica la vejez, el cuerpo, la sexualidad y los mandatos de género, permitiendo (re)elaborar el imaginario de las mujeres mayores desde ideas de autonomía y empoderamiento. Así, Ladies of Steel se enmarca en una tradición de transgresión de los roles de género que han seguido muchas road movies desde los años noventa y que había comenzado con Thelma & Louise. Como aportación significativa, la obra impugna el edadismo al ofrecer un canto a la vida a través de unos personajes que, lejos del retrato habitual de decrepitud que el audiovisual reserva para la vejez, reclaman que nunca es tarde para perseguir las propias metas.

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Akser, Murat. "Editorial." CINEJ Cinema Journal 2, no. 2 (September 27, 2013): 1–3. http://dx.doi.org/10.5195/cinej.2013.75.

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This issue of CINEJ deals with approaches to films from different parts of the world ranging from India and China to Italy and Canada. Detailed analyses on films about Ghandi, docufictions on New York City, reflections of contemporary terror in historical cinema, Chinese Soft Film Movement, road movies, religious identification in films, documemory, Italian neorealism and female performance in Canadian cinema are presented in this issue.

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26

Alcántara Islas, Omar. "Thelma & Louise y Viaje redondo: el viaje de la heroína y la fluidez del género." INTER DISCIPLINA 11, no. 31 (August 31, 2023): 209–26. http://dx.doi.org/10.22201/ceiich.24485705e.2023.31.83024.

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Este artículo compara y valora dos road movies desde una perspectiva de género sin descuidar el tema de la interseccionalidad, con un acercamiento a la estructura narrativa de ambas películas, para destacar en estas "el camino de la heroína" como itinerario contrapuesto al tradicional "camino del héroe". Este recorrido permite enfatizar el tema del gender al tiempo que subraya algunos aspectos míticos de la ruta heroica.

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27

Descamps, Yann, and Christian Vivier. "ʻ(Sports) Movies, Magic and Moreʼ: (Re)Telling the Story of College Basketball’s Integration in the Disney Sports Movie Glory Road." International Journal of the History of Sport 37, no. 10 (July 2, 2020): 893–916. http://dx.doi.org/10.1080/09523367.2020.1828364.

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28

Lemarié, Linda, Jean-Charles Chebat, and François Bellavance. "Reckless driving promotion and prevention: priming effects." Journal of Social Marketing 8, no. 2 (April 9, 2018): 220–36. http://dx.doi.org/10.1108/jsocm-02-2017-0012.

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Purpose This paper aims to examine how reckless driving scenes in action movies affect young male drivers’ perception of reckless drivers and proposes a targeted social marketing strategy to counteract this effect. Design/methodology/approach The hypotheses were tested through a 2 (reckless driving scenes vs control) × 2 (road safety advertising vs control) online experiment with 151 young male drivers. Findings Reckless driving scenes in action movies prime a positive image of reckless drivers which impacts young male drivers’ attitudes and reckless driving intention. However, a road safety message specifically addressing the positive image of reckless drivers efficiently counteracts this effect. Research limitations/implications A few studies have experimentally tested the impact of reckless driving promotion on young drivers’ attitudes and intention, but none have analysed this impact in terms of the development of a positive image of reckless drivers. In addition, this study emphasises that a targeted message based on social norms can cancel the effect of reckless driving promotion and have a beneficial impact on the most risk-prone drivers. Practical implications Social marketers working in the field of road safety can improve the efficacy of their social marketing programmes by taking into consideration the positive image of reckless drivers promoted by the media. Social implications Practitioners should develop interventions and targeted messages that help young drivers cultivate a less idealised and masculine social image of reckless drivers. Originality/value This paper enhances the awareness of the effect that the media’s positive depiction of reckless drivers can have on the youth and proposes a strategy to counteract this effect.

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Dhanapale, Pooja V. "A Study of the Evolution of Female Roles in Science Fiction Films and Modifying Society’s Stereotypical Thinking." Shodh Sari-An International Multidisciplinary Journal 02, no. 03 (July 5, 2023): 345–49. http://dx.doi.org/10.59231/sari7610.

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We have hitherto only considered the viewpoint of men, but now it’s time to give women a fair shot as well. Every human being has the potential to learn about and advance science and technology, thus it is not only a field that is exclusively open to one gender. In movies, women play a supporting role for the men. An examination of the ways in which culture affects the evolving discussion of gender portrayals in cinema. Science fiction films are the ideal medium for discussing human habitation in the future because their content is an imaginative representation of civilization. Under the premise of a science fiction theme, it is necessary to re-examine and reinterpret the connection between genders considering modern technology. It has taken a while for the representation of women in movies to improve after years of under representation. Redemption of women altered significantly as nations advanced in modernity. The media had a significant impact on the modernization of societies and the perception of women in the contemporary world. Women are portrayed in modern movies as being more autonomous, self-assured, and career-focused. For example, Mad Max: Fury Road (2015), Avatar (2009), Mission Mangal (2019). As movies are a mirror of social structural changes, the goal is to connect the evolving roles performed by women in movies with the rising status of women. The hegemonic discourse of cinema that prescribes what constitutes appropriate gender roles. In order to achieve this, we will adopt a critical poststructuralist viewpoint on how body images are portrayed in well-known science fiction Movies that have been released in recent years. How women are portrayed throughout their development history using famous English-speaking science fiction films. The reflection and feedback of the sci-fi film as a social and cultural phenomenon on the reality of the western world. Sci-Fi movies can instruct and influence viewers in a useful way, such as by portraying positive female characters to encourage more women to shatter the stereotype and actively engage in science-related job or studies.

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Lucamante, Stefania. "Road Movies and Gas Stations: Monica Stambrini's Benzina as Creation of Alternative Spaces." Quaderni d'italianistica 29, no. 2 (June 1, 2008): 111–34. http://dx.doi.org/10.33137/q.i..v29i2.8459.

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Both the novel and the film Benzina think of the literary and the visual as contesting sites for women. In revisiting the fields of space within a capitalist society and the struggle for representation of sexual identity, these two works successfully deploy strategies where the visual narrative — literary and cinematic — confirms its ability to be a place in which subjects try out distinct possibilities of their existential corporeality. Rather than presenting crystallized subjectivities, these works analyze the attempts a lesbian couple makes at finding their place within a social system still fraught by stereotypization of gender roles. This article examines how Benzina's cinematic adaptation convincingly extricates representations of the protagonists' struggle in Italian society. The idea of a feminist geometry, a triangle whose theorem is of a problematic nature, at once social and personal of arduous solution was prompted by my memory of American painter Ed Ruscha's diagonal compositions entitled Gas Stations.

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Park, In Yeong. "Study on the women’s road movies: Focusing on representation of the young generation as refugees." Cine forum 41 (April 30, 2022): 9–32. http://dx.doi.org/10.19119/cf.2022.04.41.9.

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32

Ahmad, Azlin Alisa, Amir Fazlim Jusoh@Yusoff, Mat Noor Mat Zain, and Shofian Ahmad. "Conspiracy of Silk Road: Dread Pirate Roberts to Cybercrime and Money Laundering." Malaysian Journal of Social Sciences and Humanities (MJSSH) 8, no. 6 (June 30, 2023): e002354. http://dx.doi.org/10.47405/mjssh.v8i6.2354.

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The Silk Road, as the pioneering online marketplace utilizing cryptocurrencies as a payment system, revolutionized illicit activities in the digital realm. This research delves into the implications of implementing cryptocurrencies within the Silk Road, focusing on the surge of cybercrime and money laundering. Through qualitative research methodologies, including case studies such as United States of America v. Ross Ulbricht, along with films, movies, and documentaries, the study sheds light on the nefarious consequences of cryptocurrency adoption in this dark web marketplace. Cryptocurrency was applied on Silk Road to provide an anonymous payment system without the influence of legal authorities. The findings underscore the primary motivation behind incorporating cryptocurrencies into the Silk Road - the provision of an anonymous payment system shielded from the reach of law enforcement. By leveraging cryptocurrencies, the Silk Road facilitated illegal transactions, including the sale of illicit drugs, counterfeit identification documents, and various other illegal goods and services. Additionally, the platform acted as a hub for money laundering activities, enabling the conversion of cash into anonymous virtual assets, thereby obfuscating the authorities' ability to trace the illicit funds. This research contributes to a comprehensive understanding of the intricate interplay between cryptocurrencies, cybercrime, and money laundering on the Silk Road. The insights gleaned from this study underscore the urgent need for regulatory measures to mitigate the risks associated with anonymous cryptocurrency transactions and enhance law enforcement capabilities to combat illicit activities in the digital landscape.

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Korola, Katerina. "Crossing a Man-Altered Landscape: Driving and the Vehicle in the Road Movies of Jim Jarmusch." Film Matters 5, no. 1 (March 1, 2014): 19–26. http://dx.doi.org/10.1386/fm.5.1.19_1.

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Huang, Yinghui. "Marvel Step by Step towards the Road of Transformation to Success." BCP Business & Management 42 (March 20, 2023): 180–84. http://dx.doi.org/10.54691/bcpbm.v42i.4579.

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This study is about Marvel’s company transformation. Company transformation is essentially going from an old way of operating to a new or up-to-date way of operating. The topic of this study makes the transformation of Marvel and whether Marvel's transformation is successful. In order to study company transformation, the research uses specific examples from Marvel. The author of the study the research introduces the history of Marvel's establishment and development and introduces the events, time and background of Marvel's transformation. Also, this study will analyze the transformation of Marvel from the aspects of the product, price, external cooperation and promotion respectively. And in the end part of the paper will give relative suggestions. Transformation is important, and Marvel is successful after the transformation. It is a substantial upgrade for Marvel to go from doing only comics at the beginning to Marvel movies now. In contrast, Marvel's popularity has increased. Product sales have increased. Earnings have risen substantially. At that time, the environment and the era of comics were gradually replaced by television, so Marvel decided to transition to the production of film. So the study suggests that Marvel's transformation was successful.

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Meléndez Táboas, Amelia. "Estirando el cordón: documental autobiográfico y vínculo materno en Historias que contamos, Hija, Amazona y Retrato de mi madre." Fotocinema. Revista Científica de Cine y Fotografía, no. 24 (January 24, 2022): 439–63. http://dx.doi.org/10.24310/fotocinema.2022.vi24.13731.

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Este texto revisa los films Historias que contamos (2012, Stories we tell, Sarah Polley), Hija (2012, María Paz González) Amazona (2017, Clare Weistkopf) y Retrato de mi madre (2016, Look at us now, mother!, Gayle Kirschenbaum) desde los recursos y metodologías propios del documental autobiográfico, su entidad como investigación dentro del subtipo documemoir, desde las narrativas de los tipos de apego de la psicología social y desde su contribución para desactivar la idealización de la maternidad como mito patriarcal en conflicto con la heterogénea maternidad real. Estos ejemplos se sirven de la entrevista, las home movies reales o recreadas, la road-movie, el diario de viaje filmado demostrando su pertenencia a los subtipos participativo y reflexivo. Comparten la subjetividad, temporalidad personal y performatividad de las películas de memoria. La exhaustividad de su autobiografía próxima colaborativa les permite abordar el vínculo con su figura de apego de referencia, su madre, explicando los estilos de apego seguro e inseguro preocupado que han desarrollado en el trato con ellas. El subtipo documemoir demuestra ser así un contenedor adecuado para abordar la maternidad y liberarla de las narrativas estrechas patriarcales de su idealización heredada de la década de 1990 hacia relatos de maternidad real.

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Viano, David C., Milan Patel, and Michael A. Ciccone. "Patterns of Arm Position during Normal Driving." Human Factors: The Journal of the Human Factors and Ergonomics Society 31, no. 6 (December 1989): 715–20. http://dx.doi.org/10.1177/001872088903100607.

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Left arm position was determined from movies taken by the Insurance Institute for Highway Safety of 1890 vehicles approaching an intersection on a normal two-lane road. The dynamics of driving were apparent as the drivers shifted their left arms from the armrest to place their hands on the steering wheel 23.8% of the time when stopping at intersections. Whereas drivers used the armrest 34.4% of the time on the open road, the armrest was used only 10.6% of the time at the intersection. The driver's left hand was on the steering wheel 69.6% of the time at the intersection. Use of the windowsill to rest the arm varied among passenger cars, trucks/vans, and sports cars primarily because of differences in shoulder and windowsill height. A lower relative position in trucks and vans promoted use of the windowsill to rest the arm. Given that serious injury in multivehicle side impacts most frequently occurs in intersection crashes, design improvements of the side interior should focus on direct loading of the chest and abdomen. In addition, crash tests should be set up with the dummy's left hand on the steering wheel and arm away from the side.

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Peters, Rikke Louise. "Easy Rider og drømmen om frihed." Slagmark - Tidsskrift for idéhistorie, no. 60 (March 9, 2018): 172–87. http://dx.doi.org/10.7146/sl.v0i60.103984.

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Peters Fondas road movie Easy Rider forms the spine in this essay, whichhunts the idea of freedom on the road. The essay first takes a closer lookat Easy Rider and the ideals the creators of the film wanted to describe.Then moves on to take a closer look at later political receptions of the film and finally takes a closer look at the ideals that bring young women tochase freedom on the roads.

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Hong, Sun-Ae. "A Study on the Media Strategy and Narrative Transformation of Transmedia Storytelling - Focusing on Novels, Movies, and TV dramas, 『The Road to Sampo』." JOURNAL OF THE KOREA CONTENTS ASSOCIATION 23, no. 5 (May 31, 2023): 574–85. http://dx.doi.org/10.5392/jkca.2023.23.05.574.

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Sarla, Gurmeet Singh. "COVID Diaries: An Indian Perspective." Journal of Medical Research and Surgery 1, no. 3 (April 30, 2020): 1–3. http://dx.doi.org/10.52916/jmrs204011.

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COVID-19 has shaken up the world and these COVID times have allowed us to slow down, log out, switch off for a while and think about our real needs against greed. The ‘lockdown’ has provided us with an opportunity to pursue our hobbies and passion, to learn a new skill, to read your favorite books, watch movies which you have missed, to work-out which you missed doing due to paucity of time and to sit back and think about how to improve and make ourselves a better person. Most of us can work from home and if we are determined, we can cut down on our travel thus reducing air and water pollution in addition to a significant reduction in the number of road traffic accidents. The health crisis brought every one of us together and Corporate India shouldered its corporate social responsibility, reel heroes and cricket legends played their part well and Corona warriors led the war against the virus with grit and determination under the able leadership of a dynamic Prime Minister.

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Karki, Dhruba. "The Heroic Journey in Popular Culture." Tribhuvan University Journal 29, no. 1 (March 31, 2016): 25–40. http://dx.doi.org/10.3126/tuj.v29i1.25668.

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Popular culture integrates people in diverse settings. Individuals share ideas through materials they use, including food, dresses, movies, magazines, and holiday spots. In the past, people set for pilgrimage to holy sites; these days, they go on trekking through hills. Pilgrimages to consecrated sites have been replaced by people's journey to discotheque, fashion center and shopping complex in the modern time corporate world. What binds them together is the transformation of consciousness in line with the journey from the terrestrial to the celestial sphere. Specific human activities, including pilgrimage and business trip become popular culture when people make them significant parts of their lives. Sound and images of disco, jazz, hip-hop, and pop-rock have entered the streets and hotels equally in cities of the industrial world, from Lhasa to London, Karachi to Kathmandu, and Tokyo to New York, irrespective of their cultures and ethnic backgrounds. In today’s world of saturated media presence, images and icons of heroes and legends, motivated by commercial and popular appeal, are circulated with a greater speed, becoming simultaneously a shared mythic currency and continuity, the modern world embodiment of silk road business, and thus, crossing the East-West divide.

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Argod, Pascale. "Le carnet de voyage audiovisuel ou cinématographique." Téoros 30, no. 1 (September 4, 2012): 119–27. http://dx.doi.org/10.7202/1012115ar.

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Compte rendu du témoignage vécu du voyageur, le carnet de voyage se déclinerait aussi sous diverses formes audiovisuelles : l’émergence des arts graphiques dans l’oeuvre cinématographique, des séries télévisuelles de carnets de voyage, du documentaire de création d’un périple à la quête ethnographique ou encore du reportage d’expéditions naturalistes à visée « scientifique ». Par son regard sensible sur le monde et le voyage, le carnet de voyage interroge le réel dans son ambivalence entre documentaire de création et fiction. Autobiographie filmée d’un périple original, le carnet de voyage cinématographique est emprunt de l’héritage du cinéma ethnographique de Jean Rouch et de la transgression des frontières entre documentaire et fiction. Il serait un documentaire de création sur le thème d’un périple à la quête ethnographique ou de l’anthropologie du voyage, voire une fiction dans le style des road movies à la quête de l’errance et de soi. Ce médium pourrait-il promouvoir un « tourisme authentique » ? À travers un corpus d’une quarantaine d’exemples, nous allons essayer de dresser les facettes du « carnet de voyage », puis de définir ce genre hybride comme un ciné-tourisme tourné vers le voyage authentique.

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Shukman, Henry. "Road Movie." Hudson Review 53, no. 3 (2000): 437. http://dx.doi.org/10.2307/3853032.

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Lir, Shlomit Aharoni, and Liat Ayalon. "THE ETHOS OF THE AUTEUR AS FATHER OF THE FILM CRAFT – ON MASCULINITY, CREATIVITY AND THE ART OF FILMMAKING." Creativity Studies 15, no. 1 (February 21, 2022): 130–46. http://dx.doi.org/10.3846/cs.2022.14258.

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Research of the world of cinema often deals with the manner in which movies replicate the social balance of power, creating a symbolic order based on an essentially masculine world-view that puts the man at its center. The price women pay for this phallocentric approach – their persistent objectification in cinema, and the very small number of female screenwriters and directors – has become a much-discussed topic in contemporary research. However, the question of the price paid in the male artistic creation process has yet to receive the attention it deserves. This qualitative study addresses the lacuna in contemporary research, with reference to three metafictional films that focus on male directors, as an auteur for whom cinema is the pivotal center of their being: the Israeli film Peaches and Cream (2019, directed by Gur Bentwich), the Spanish film Pain and Glory (in Spanish: Dolor y gloria, 2019, directed by Pedro Almodóvar), and American film All That Jazz (1979, directed by Bob Fosse). They all are viewed as having an affinity with the ancient Greek comparison of male creativity with female procreativity, which is still reflected in contemporary studies. The films paint a picture of the male creative process shadowed by a sense of danger and loss of self. All three expose the feelings of anxiety inherent in film directors’ work, and the possible resultant breakdown, not only in an emotional sense but in a real, potentially fatal physical or medical sense as well. In all three movies, the director conceives of his ability to restore his sense of inner wholeness and male identity in a manner that contradicts the conventional balance of power, while customary power-relations are revealed as another road to loss of identity and sense of self. Each of the films ties the director’s ability to renew his sense of personal wholeness to developing a relationship with his surroundings, facilitated by audience appreciation, critical praise, or empathy from those close to him – all of which reinforce his feeling of belonging and significance. Without these aspects, the “absolute artist”, whose life revolves around his art, is shown to be at death’s door, whether symbolically or in reality.

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Guini, Eleni. "TEATRO POSDRAMÁTICO EN TIEMPOS DE CRISIS: TRES EJEMPLOS DE TEATRO DOCUMENTO Y TEATRO DE CREACIÓN." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 71–101. http://dx.doi.org/10.32621/acotaciones.2021.46.03.

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En el período que nos ocupa —desde 2010 hasta la actuali-dad— caracterizado como una época de crisis que todavía no ha aca-bado, debemos reflexionar sobre cómo se involucra el teatro en la crisis y actúa en paralelo, al emitir juicios, plantear preguntas y mantener un diálogo con la sociedad. El presente ensayo analiza tres creaciones tea-trales que presentan su trabajo en la escena griega y europea y que han obtenido un notable éxito. La elección del dúo de directores Azás -Tsini-coris, el grupo Station Athens de Marcopulu y el grupo Blitz, respondió a dos consideraciones: por un lado, su temática, que expone puntos co-munes como la emigración, la xenofobia, la violencia y la melancolía pro-vocada por la resistencia a un mundo cruel, y, por otro lado, sus textos, que proceden de la ficción y el documental, y que son fruto de la labor común de todo el grupo. La intertextualidad, la alegoría y el realismo del formato como documento, componen representaciones vertebradas, road movies sin desplazamiento, relatos tragicómicos de la violencia de los siglos XX y XXI, versiones de canciones con guiños bien reconocibles a la coyuntura de crisis actual. Actores amateurs y profesionales, inmi-grantes, ciudadanos de la calle, directores que cuentan con la tecnología como coprotagonista, transforman experiencias e ideas en un fecundo género metateatral.

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Rangkuti, Abdul Haris, Varyl Hasbi Athala, and Farrel Haridhi Indallah. "Development of Vehicle Detection and Counting Systems with UAV Cameras: Deep Learning and Darknet Algorithms." Journal of Image and Graphics 11, no. 3 (September 2023): 248–62. http://dx.doi.org/10.18178/joig.11.3.248-262.

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This study focuses on identifying and detecting several types of vehicles, with each vehicle’s position depicted by drone technology or an Unmanned Aerial Vehicle (UAV) camera. The vehicle’s position is captured from a height of 350 to 400 meters above the ground. This study aims to identify the class of vehicles that travel on the highway. The experiment employs several convolutional neural network models, including YOLOv4, YOLOv3, YOLOv7, DenseNet201-YOLOv3, and CSResNext50-Panet-SPP, to identify this type of vehicle. Meanwhile, the Darknet algorithm aids the training process by making it easier to identify the type of vehicle depicted in MP4 movies. Several other Convolution Neural Network (CNN) model experiments were conducted in this study, but due to hardware limitations, only these 5 CNN models could produce an optimal accuracy of up to 70%. Following several experiments, the CSResNext50-Panet-SPP model produced the highest accuracy while detecting 100% of video data using UAV technology, including the volume of vehicles detected while crossing the road. Other CNN models produced high accuracy values, such as DenseNet201- YOLOv3 and YOLOv4 models, which can detect up to 98% to 99% of the time. This research can improve its capabilities by detecting other classes that are affordable by UAV technology but require hardware and peripheral technology to support the training process.

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McCann, B. "Open Roads, Closed Borders: The Contemporary French-Language Road Movie." French Studies 68, no. 2 (April 1, 2014): 292. http://dx.doi.org/10.1093/fs/knu007.

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Korstanje, Maximiliano E. "Open roads, closed borders: The contemporary French-language road movie." Annals of Tourism Research 44 (January 2014): 293–94. http://dx.doi.org/10.1016/j.annals.2013.08.005.

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Bourke, Joanna. "Apocalyptic road movie." Lancet 375, no. 9708 (January 2010): 20. http://dx.doi.org/10.1016/s0140-6736(09)62173-5.

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Cuelenaere, Eduard, Gertjan Willems, and Stijn Joye. "Remaking identities and stereotypes: How film remakes transform and reinforce nationality, disability, and gender." European Journal of Cultural Studies 22, no. 5-6 (February 19, 2019): 613–29. http://dx.doi.org/10.1177/1367549418821850.

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When films are being remade, they undergo several transformations, including changes related to (the representation of) national, disability, and gender identities. By drawing on the case of the Flemish film Hasta La Vista and its Dutch remake Adios Amigos, this article critically investigates the (dis)similarities on these levels through the prism of the film remake. Both films are popular road trip movies dealing with the adventure of three friends with disabilities who overcome boundaries in multiple ways not only by figuratively (and almost literally) escaping their parents and their disabilities but also through traveling, exploring sexuality, and eventually by dying. Although the films deal with almost exactly the same themes, their interpretation and contextualization differ considerably. Our findings show that as a consequence of the localizing processes embedded in film remakes, subtexts which were ‘originally’ ingrained in the source text were ignored or even withheld in the newer version. As the involved filmmakers built on particular stereotypical visions and myths about these specific cultures and national identities, often with the purpose of recreating a socio-cultural context, such narrowed perceptions were occasionally subverted but also reconsolidated. Finally, we argue that, through the remake process, some ableist and patronizing representations of, respectively, disability and gender identities were subverted, while others were kept or even reinforced. Our results show that such transformations point toward specific socio-culturally defined disability and gender identities but also toward a shared and almost universally shaped disability and gender culture.

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Endo, Tomoyuki, Chen Qu, and Heide Ibrahim. "A molecular road movie." Physics Today 74, no. 7 (July 1, 2021): 62–63. http://dx.doi.org/10.1063/pt.3.4801.

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