Avant-titre: 5 defining elements of road movies | أفان تتر: علامات على أفلام الطريق

Avant-titre: 5 defining elements of road movies | أفان تتر: علامات على أفلام الطريق

ِA filmmaker, a cab driver and a prostitute
try to avoid a traffic jam caused by a procession, which leads them to an
adventurous night on the streets of Cairo. After the death of his wife, a leprosy
patient embarks on a trip from Abu Zaabal to Qena with an orphan boy,
both in search of their families. Ali, who believes his fiancee has turned into a goat,
and Ibrahim, who hears voices, go on a trip to undo the curses they are
under, on the advice of a sheikh. These recent Egyptian
releases belong to the road trip movie genre, a genre unfamiliar to Arab cinema, but common in other cinematic cultures. Of course,
most films in the genre are produced in the United States. Among the most famous Hollywood
road movies are: Perhaps this can be traced back to the
origins of American culture starting with the flow of rural immigrants from
Europe to America, many of whom were fleeing religious persecution, which continued
later as people fled the Civil War and moved west, where the
Gold Rush ensued. Later as roads were paved, and automobiles
replaced horse-drawn carriages, this culture took on the
challenge of discovering the continent by road. Road movies usually follow a certain set of
cinematic conventions. In this video we will discuss five of their essential
elements. 1. The classic plot line is centered on
the theme of change or transformation. The story usually starts in the hero’s
ordinary world. But a call leads him to go on the road. “Where is the cash?” At first glance, the film seems to
follow the hero’s journey or quest to accomplish a
mission, but this genre is often concerned with
a more all-encompassing theme of change. Three things usually change
as the film progresses: the journey, the hero and the overall goal. The journey’s development is the most
obvious because there is movement from one place to another. The characters also evolve as the events unfold. As a result, the overall goal of the
journey is likely to change, or become less important. The characters who embark on the journey
might face rejection from society, or need to accept
or change something about themselves, or even search for treasure. They might refuse to go on the journey
until something forces them to follow through, and the road
reveals to them something about themselves, allowing the characters to return to their
regular world with new insight or power they acquired
on their journey. The heroes often make it to their
destination by the end of the second act of the film, only to discover that this has not really
solved their problem. Thus, their goal changes. 2. The choice of linear narration: Theeb
is a Bedouin child who accompanies his older brother on a trip in the Jordanian desert.
The latter has been asked to guide a British soldier and his friend along
the old pilgrimage trail. The journey changes completely after
the group is attacked by bandits, killing the older brother, the soldier
and his friend. To survive, Theeb is stuck with
one of the attack’s perpetrators. We watch his transformation from an
innocent child to a person plotting to avenge his brother’s death. Road movies usually adopt linear
narration, relaying the consecutive flow of events without manipulating
time. This puts us viewers in
the hero’s proverbial shoes, to empathize with and live through the
hero’s journey of transformation. 3. Common visual motifs in road movies:
We see wide shots of large roads that allow us to take in open spaces, like in
Omar’s Errand (1986) and Theeb (2014), or even narrow, congested roads like in
Exterior Night (2018). Shots of road stops, food on tabletops,
restaurants and motels provide space for both the protagonists and the
viewers to rest from the exhaustion of the road and the events of the plot.
They allow protagonists to have conversations they might not be able to have
on the road. Naturally we also find shots of
various modes of transportation, like horses, cars, or even rockets. 4. The style of cinematography and visual
composition. Many road movie directors use a certain cinematographic style and visual composition that serve their
storylines. For example, just as the hero goes on
a journey to face his problems, his car or his horse must face the perils
of the unknown. So we may see wide panoramic shots portraying
the vehicle as limited in the face of the expansiveness of nature, evoking
feelings of uncertainty about the future, like when Theeb
arrives at the well. From afar it seems like a sanctuary, but things change
as bandits attack. Road movies also demand certain types
of camera movement to convey a feeling of continuous motion from
one point to another, allowing the viewer to feel like they’re
part of the journey and conveying the passage of time. This is why we often see the road
from the point of view of the protagonist, putting ourselves
in their place in the adventure. This takes us to 5. The relationship
between the vehicle and the protagonist in the journey. The choice of vehicle could be an arbitrary
result of the film’s setting and events, as in Theeb. But in many films the
vehicle takes on metaphorical meaning as a reflection of the protagonist’s
challenge. In Omar’s Errand, for example,
Farouk al-Fishawy’s character drives a modern luxury vehicle that reflects the contrast
between his lavish lifestyle and his existential crisis, and his attempt to find
some meaning to life. Mamdouh Abdel Alim’s character, who tries to leave his
village behind, rides a bicycle instead of a donkey — an urbanizing gesture
that reflects his ambitions. The character played by Madiha Kamel seeks maximum profit
in minimum time, so she hitchhikes with truck drivers and gets off before getting
involved with them. So far we’ve discussed films that
follow the traditional plot structure for road movies. Let’s highlight other films that share some of the visuals or essential motifs of road
movies. In The Flirtation of Girls (1949),
Mr. Hammam and Laila go on a road trip in the second half of the film.
It ends with Mr. Hammam realizing the impossibility of his love for her
due to the their differences in age and class. The film, however, does not feature
wide visual composition, as productions at the time were
shot entirely indoors, in film studios. In The Deceived (1972), director Tewfik Saleh
adopts a different narrative approach. The film tells of three characters, trying
to make it to Kuwait by land via Iraq in search of job
opportunities. They make it to Kuwait at the very end
of the film, rather than at end of the second act, because their arrival is the
logical end to their journey and solution to their problems. That’s why they
face obstacles, such as the lack of funds, border checkpoints, and the
hot August sun on the road. Saleh also employs flashbacks
instead of linear narration in order to show us the protagonists’ motives for
undergoing this risky journey. He shows us the characters’
histories in all of their complexity. The characters in Interstellar (2014) use an
unconventional vehicle and an unusual road, but the goal of the journey in this road movie
remains the same: the search for new life, even on
another planet. In the end, road movies could be
considered an extension of ancient human cultures, when the first humans
started to record their trips on cave walls. German director Wim Wenders considers
these inscriptions to be the first road stories, followed by Greek and Arab
myths, till more modern tales like Mark Twain’s Adventures of Huckleberry Finn. This is a list of the most famous road
movies, please share with us your favorite road
films that share the qualities we mentioned in the

14 thoughts on “Avant-titre: 5 defining elements of road movies | أفان تتر: علامات على أفلام الطريق

  1. السلسله دي جميله جدا و ظلم انها مش منتشره او محدش بيشوفها انصحكم تعملولها تمويل لانها بتشر تثقيف عالي جدا علي حاجات ممكن اغلبيه الناس اللي بيتفرجو مبيخدوش بالهم منها للاسف الوعي هنا صعب حد يدور عليها او يلاقيه عموما بسهوله
    استمرو و شكرا علي المجهود الجبار ده

  2. فيديوهات السلسلة دي جميلة جدا وبتبسط المواضيع ع الاخر وبالنسبة لي الكام دقيقة دول عالم جميل هادي اهرب فيه

  3. كان لازم تجيب سيرة فيلم "واجب " الفلسطيني ، اللي يختلف عن باقي افلام الطريق اللي ذكرتها بكتير حاجات ، انا حابب اكتب واناقش لكن مش حتردو بالاغلب فلماذا التعب 😂😂 …

  4. https://www.youtube.com/watch?v=q0ryRwKkKI4
    this must be the place
    هل يعتبر فيلم طريق ؟
    يمتلك الفيلم عنصر الطريق في الجزء الأخير ويوجد فيه عنصر البحث عن الذات

  5. فيلم the way back من افلام الطريق الحلوه
    وفيه افلام فيها بعض العناصر دي زي فيلم الرسالة وشمس الزناتي

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