Biker Boys, Muscle Cars, Hollywood Men

This article examines how the ironic construction of queer masculinity from biker culture, a realm of consumer fetishism and hetero-masculinity, in Kenneth Anger’s Scorpio Rising (1964), influences Nicolas Winding Refn’s 2011 film Drive. As Anger’s film appropriates pop-culture images and icons of biker culture, fetishes of post-Second World War American masculinity, Refn uses overt references to Anger’s film to wage a similar reappropriation of muscle car culture, in the process challenging contemporary images of heterosexual masculinity in Drive. Like Anger, Refn relies upon the dynamics of fetishism and postmodernism’s illumination of the distance between sign and object to subvert muscle cars’ associations with masculine violence and rivalry, mobilising them instead to exploit the inherent multivocality of the fetishised object, seizing the car (and its mobility) as a getaway vehicle to escape prescriptions of identity and limiting definitions of gender and sexuality.

Screen-Camera-Cars

Self-driving cars have long been depicted in cinematic narratives, across genres from science fiction films to fantasy films. In some cases, a self-driving car is personified as one of the main characters. This article examines cinematic representations and imaginaries in order to understand the development of the self-driving technology and its integration in contemporary societies, drawing on examples such as The Love Bug, Knight Rider, Minority Report and I, Robot. Conceptually and methodologically, the article combines close readings of films with technological concerns and theoretical considerations, in an attempt to grasp the entanglement of cinematographic imaginaries, audiovisual technologies, artificial intelligence and human interactions that characterise the introduction of self-driving cars in contemporary societies. The human–AI machine interaction is considered both on technological and theoretical levels. Issues of automation, agency and disengagement are traced in cinematic representations and tackled, calling into question the concepts of socio-technical assemblage.

Modernityscapes, ‘Sweet Consumer Nightmares’ and Clumsy Chauffeurines

This article examines the role of automobility in the Greek cinema of the 1960s. It focuses on the representations of the automobile’s domestication in selected films. Particular attention is paid to the technical and symbolic reconstruction of space and the redefinition of socioeconomic and gender stereotypes. The article’s conclusions concern the role of the automobile in a specific period within Greek film history, as well as its place within cinema in general and in the theoretical and material construction of what is perceived as ‘modernity’.

Contesting the Wheel

This article considers the recurring motif of the female driver in a selection of films by Alfred Hitchcock. By placing these screen representations of female drivers within the context of prevailing attitudes found throughout twentieth-century American society, the discussion seeks to evaluate Hitchcock’s creative deployment of potent cultural issues in his work. In this pursuit, the article identifies certain disparities in the portrayals of female drivers, resulting in both positive and negative depictions, which can be related to the director’s broader ambivalence towards femininity throughout his oeuvre.

Petrification and Petroleum

Invasion of the Body Snatchers (dir. Don Siegel, 1956), The Birds (dir. Alfred Hitchcock, 1963), and Night of the Living Dead (dir. George Romero, 1968) imbue scenes that take place at a gas pump with a horror so intense, it petrifies. As three of the earliest American horror films to feature a monstrous exchange at the pump, they transform the genre by reimagining automotive affect. This article examines the cinematic mood created when petrification meets petroleum, providing an alternative look at American oil culture after 1956, but before the oil crisis of 1973.

Riding in Cars with Girls

The open road is popularly imagined as both cinematic and male, a space suited to the scope afforded by the cinema and the breadth demanded by the male psyche. However, while these connotations are ingrained within the aesthetics of driving, its kinaesthetics – the articulations between bodies, movement and space – have more in common with television and with stories of women’s desire. Drawing from Iris Marion Young’s theories of gendered embodiment, this article argues that driving, television and female desire are all marked by the same contradictions between movement and stability, and between public and private. It analyses two recent television programmes concerned with women behind the wheel – Black Mirror’s ‘San Junipero’ (Netflix, 2016) and the first two seasons of Big Little Lies (HBO, 2017–present) – to argue that driving on television affords a space through which to negotiate feminine embodiment, agency and desire.

Reflexivity and Objectivity

By focusing on Helmut Käutner’s In Those Days/Stories of a Car (In jenen Tagen, 1947) this article analyses the role of the car as a cinematic object. The automobile is the narrator of Käutner’s film: by giving voice to an object to discuss the Third Reich, Käutner raises – as it is often the case in the ‘rubble films’ – the question of objectivity when dealing with the recent past. At the same time, through the motif of the automobile, which Käutner uses a reflection of and on cinema, the director questions the role that the filmic medium can or should play in postwar Germany.

‘The Boys Can Kill’

In the late 1960s, Hollywood had the youth demographic in its sights. In 1969 Butch Cassidy and the Sundance Kid proved that Westerns could appeal to this market, and sparked a cycle of youth Westerns. The cycle framework provides a new lens to refocus this group of Westerns. When the films are situated alongside the other production trends and cycles of the period, as they were in the contemporary trade discourses, they emerge as part of a short-lived strategy for financing Western films that targeted the youth market. An industrial and discursive analysis of the marketing and reception of the youth Western cycle contributes to a more nuanced understanding of the New Hollywood period.