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.

Observations on the Provenance of the Thames Valley Pick, Swalecliffe, Kent

1926 ◽  
Vol 5 (2) ◽  
pp. 224-230 ◽  
Author(s):  
F. H. Worsfold
Keyword(s):  
Subject Matter ◽  
Sloping Ground ◽  
Relative Age ◽  
Treasure Trove ◽  
The Road ◽  
University College London ◽  
Exact Position ◽  
The Subject ◽  
London Clay ◽  
The Right

From the Marine Parade, Tankerton, Whitstable, looking East, one obtains a capital view of Tankerton Bay, Swalecliffe, in which my discoveries have been made which are to form the subject matter of this paper. The grassy cliff at Priest and Sow corner at the end of the road stands at 55 O.D. This height gradually declining round the arc of the bay, to die out entirely in the Long Rock occupying the middle distance and through which the Swalecliffe Brook discharges into the sea. Just beyond, a little to the right, are the disused Swalecliffe Brick Works, with Stud Hill and Hampton lying further back. To the left and edging the horizon, Herne Bay Pier is clearly discernable. The accompanying copy of (Plate I.) the 25-in. Ordnance map of this Tankerton Bay section gives the exact position of the 650 yards from the Parish Boundary Stone eastwards indicated thereon with a X in which are found the gravels and brick-earths which have proved so rich in archaeological treasure trove. The whole of this south-easterly directioned well-drained gently sloping ground, from the Priest and Sow corner to the Swalecliffe brook, forms an ideal camping site. Last April a paper was read by me before the Geological Association, at University College, London, entitled “An Examination of the Contents of the Brick Earths and Gravels of Tankerton Bay, Swalecliffe, Kent,” in which the geological aspect of this section was fairly exhaustively treated, so that in this particular it will be unnecessary for me to do more than give a brief summary of the results of that examination as to the relative age and stratigraphical sequence of the Drift material found here overlying the London Clay.

scholarly journals Karlovy Vary 2005

2005 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
International Federation ◽  
Film Festival ◽  
40Th Anniversary ◽  
The Road

KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2005 "Life Begins at Forty!" ran the trailer for this year's 40th Karlovy Vary International Film Festival (1-9 July 2005). But, as some asked, was this really the 40th anniversary? Since the festival was officially founded in the summer of 1946 - thus making it older than Cannes, founded in September of 1946 - then KVIFF should rightly be 59 years old, in contrast to the 58th anniversary celebrated by Cannes last May. There are two bumps in the road, however. First of all, the Czech event was programmed in the neighbouring spa of Marienbad for its first three years, not in Karlovy Vary at all. Secondly, beginning in 1958 and lasting until 1994, Karlovy Vary was forced by a FIAPF (International Federation of Film Producers Associations) recommendation to alternate annually with Moscow. This festival carousel went on until 1994, when both Karlovy Vary...

scholarly journals Gender and the transsexual body in Transamerica

Literator ◽  
2018 ◽  
Vol 39 (1) ◽  
Author(s):  
Amy A. Jensen
Keyword(s):  
Gender Identity ◽  
Subject Matter ◽  
Gender Performance ◽  
Gender Theory ◽  
Mainstream Media ◽  
The Road ◽  
Female Protagonist ◽  
Self Discovery ◽  
Mainstream Society ◽  
Insight Into

Transamerica, by Duncan Tucker, released in 2005, addresses lesbian, gay, bisexual, transgender and queer- (LGBTQ-) related themes through a transsexual female protagonist, Bree. This article discusses the film as an important step in the direction of representing the complexity of gender, which, by today’s standards, is more generally appreciated. Because of its subject matter, Transamerica is a contentious film, lauded and condemned in mainstream media for how it dealt with and represented transsexual identities. Despite nominations for a number of awards, the film’s portrayal of transsexual identities was largely ignored in academic discourse at the time. I argue here that the film provides insight into the challenges, requirements, concerns, as well as the consequences of gender-fluid expression, which has been recognised in academia for years and has become a more discussed topic in mainstream society, but the manner in which the film examines these insights was overlooked. I do this by contextualising the film in terms of contemporary examples of transgender existence, which have brought the topic to mainstream discourse, and by applying gender theory concepts to the film. I discuss the protagonist’s physical and emotional journey to self-discovery in the context of the road movie trope. I then look into the protagonist’s gender performance, as well as how the protagonist negotiates this performance in the various places she visits while on the journey. I show that the film encourages open and honest discourse about gender identity and expression; the opportunity for this discussion was not taken in the year of the film’s release.

What Should Comprise the Subject Matter of the Arithmetic in the Elementary Schools and in What Grades Should Formal Arithmetic be Taught?

1912 ◽  
Vol 4 (4) ◽  
pp. 162-172
Author(s):  
H. J. Wightman
Keyword(s):  
Elementary Schools ◽  
High Schools ◽  
Subject Matter ◽  
The Road ◽  
Long Time ◽  
The Subject ◽  
To Come

The Lord, the school and society are responsible for the type of individuals that gets into the high schools, and after the Lord and society have done all that we can expect them to do for some time to come, there is left a much larger problem than simply to find the G.C.D. or the L.C.M. The child is an active thinking individual, if we do not suppress his activity and mechanize his thinking and convert him into a jumping-jack which responds only as the teacher pulls the strings and then apparently in a way that suggests need of lubrication. I have nothing but pity for the child who is allowed to think only through the ruts made by the juggernaut of mechanical teaching. Formal mental discipline, as interpreted by the Gradgrind martinet with its memoriter and rule-stuffing accompaniment, has been the fetish which has blocked the road for the development of childhood in mathematics for a long time.

scholarly journals Aesthetic transformation of Chorale in new Lithuanian organ music

Menotyra ◽  
2018 ◽  
Vol 25 (3) ◽  
Author(s):  
Jūratė Landsbergytė
Keyword(s):  
Subject Matter ◽  
Organ Music ◽  
The Road ◽  
Cultural Philosophy ◽  
The Baltic ◽  
Arvo Part ◽  
The Way ◽  
Francis Of Assisi ◽  
Musical Creation

The article aims at revealing a specific ultimate relation of the Baltic New Sacrality with chorale. Its subject-matter is chorale transformations through the ruination of architectonics of sanctum’s chorale, turning it into a horizontal and spreading space or “tower ruins” – inspiring a rise of vertical accordics to the transcendental “other space”. Examples can be three works of the Lithuanian composers for the organs: Mykolas Natalevičius’s “LA” dedicated to Loreta Asanavičiūtė (2014) and “Psalmus 150” (2017), also Algirdas Martinaitis’s “The Messenger from Heaven”, the prayer to St. Francis of Assisi (2014). In these works, there emerge the principles of transformation of architectonics of chorale’s “sanctum” – Natalevičius’s overflow to the horizontal and Martinaitis’s integration of different sphere outlines into the vertical of rising transcendental harmony. Baltic minimalism demonstrates the way of the New Sacrality as an ideological alternative, a response or even replication to still relevant postmodernism, the “carnival of simulacra” ( J. Ranciere), relating it with the discourse of modern Western cultural philosophy of the image. The works by Arvo Pärt (Trivium, 1976), Aivars Kalejs (“Via dolorosa”, 1990), Imants Zemzaris (“Field. Mandala”, 1984), Teisutis Makačinas (“Prayer for Lithuania”, 1980), Onutė Narbutaitė (“The Road to the Silence”, 1981), Peteris Vasks (“Musica serva”, 1988) are actualised by refusing “carnival simulacra” (after J. Ranciere) or representativity, going into silence of sacrality, seeking reduced choral architectonic and pulsation of Enlightening. In this way, the Baltic musical creation is especially relevant nowadays, it is renewing the global concept of sacrality.

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.

The Théâtre du Soleil, Part Two: the Road to Cambodia

1986 ◽  
Vol 2 (7) ◽  
pp. 203-212
Author(s):  
Adrian Kiernander
Keyword(s):  
Subject Matter ◽  
Performance Style ◽  
Popular Theatre ◽  
The Road ◽  
Theatre Company ◽  
History Of ◽  
Ariane Mnouchkine ◽  
And Performance

One theatre company alone in France, since the end of Vilar's Théâtre National Populaire, continues to make us consider the relationships between theatre and life, the place of theatre in society, its ability to modify the order of things in some way. It is the Théâtre du Soleil, guided by Ariane Mnouchkine.THE SEARCH for a contemporary popular theatre which has occupied the Théâtre du Soleil almost since its foundation 22 years ago has led the company at various times into innovations in both subject matter and performance style. Their latest production, The Terrible but Unfinished History of Norodom Sihanouk, King of Combodia, breaks new ground in both areas.

scholarly journals The Road Less Travelled? Pathways from Passivity to Agency in Student Learning

2015 ◽  
Vol 8 ◽  
pp. 47 ◽  
Author(s):  
Gail Frost ◽  
Maureen Connolly
Keyword(s):  
Undergraduate Students ◽  
Subject Matter ◽  
Approaches To Learning ◽  
Future Research ◽  
The Road ◽  
Capstone Courses ◽  
Summative Assessments ◽  
Obvious Consequence ◽  
Practical Experiences ◽  
Journal Entries

This qualitative study examined fourth-year undergraduate students’ responses to reflective writing prompts and journal entries related to their practical experiences in two capstone courses, both based in SBL/PBL pedagogies. We examined their ‘strategic’ approaches to learning that make engagement with subject matter and learning processes more instrumental than meaningfully grasped and applied. Three levels of analysis were used in a recursive process of description, reduction, and interpretation, and the results were added to our previous work examining student responses to reflective activities that foster deep learning. Our provisional conclusions are that strategic learners are invested in a mastery relationship with subject matter that makes grade procurement the evidence of this mastery and this shifts their focus to product over process as an obvious consequence. This disconnect from process leads students to an unhelpful relationship with formative assessment and feedback. They tend to wrestle with the formative elements and see them as mini summative assessments or quasi final products, rather than the necessarily perplexing engagement that leads to the imaginative generation of possibilities and recursive building and refining of ideas and processes. Our future research will focus on environments that encourage more comfort with mistakes and contingencies as learning opportunities.

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