2026-05-05T18:46:03Zhttps://uvadoc.uva.es/oai/requestoai:uvadoc.uva.es:10324/173292021-06-30T08:10:15Zcom_10324_5343com_10324_5186com_10324_29291col_10324_5353
UVaDOC
author
Induráin Eraso, Carmen
editor
Ediciones Universidad de Valladolid
2016-06-22T15:28:41Z
2016-06-22T15:28:41Z
2006
ES: Revista de filología inglesa, 2006, N.27, pags.75-94
0210-9689
http://uvadoc.uva.es/handle/10324/17329
75
27
94
Following a general cinematic trend, the road movie genre in its beginnings relegated the representation of non-whites to the periphery. After analysing the general state of affairs of racial representation in the genre, we witness in the 1990s a timid but remarkable trend to produce "racial" road movies which vindicate the rights of central representation of racial minorities. This paper analyses a representative racial road film, Jonathan Kaplan's Love Field (1992), in an attempt to show that the road movie's generic conventions and traditional liberal pedigree may provide a context where the depiction of racial minorities and race relations may finally reach a central status.In the road movie we have an ideogram of human desire and the last ditch search for self, and who is more plagued for hunger and lostness than the socially disenfranchised? (Atkinson 1994:14).
spa
Attribution-NonCommercial-NoDerivatives 4.0 International
Filología Inglesa
Race on the road: from de periphery to the centre in Jonathan Kaplan's "Love Field"
info:eu-repo/semantics/article
URL
https://uvadoc.uva.es/bitstream/10324/17329/1/ES-2006-2007-27-RaceOnTheRoad.pdf
File
MD5
10f03bbd4de13835a749040d8732ccd1
217955
application/pdf
ES-2006-2007-27-RaceOnTheRoad.pdf