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Communication Dans Un Congrès Année : 2020

“(...) THE ROAD AND ITS TURNINGS (...)”: ROADSCAPES IN ROAD MOVIES AND VISUAL ART

Résumé

In this contribution, I would like to consider some heterogeneous material made up of road films chosen in a denationalized and deperiodized corpus, but also of journeys of photographers (Depardon, Franck, Plossu, Lund) which, by the sequence of images collected, are never far from cinematographic scrolling. To this I will add artistic works, gleaned from the production of the last decades and which represent the road, or make the crossing of a distance their subject as well as their tool for elaboration (Fulton, Alÿs, Stalker). I will also underline some aspects of the imaginary of displacement that unfolds in the culture of the past half-century, to indicate certain issues, dynamics and values that support it. This large and loose gathering of art works indicates clearly that I do not situate the road movie in a specific generic, national and temporal frameworkthat of the United States, the counterculture of the seventies and the complicated aftermath of the Western genre to put it succinctly. I consider it a hybrid, malleable and transcontinental narrative form that engages us to reflect on the changes that have affected the perception of reality and identity in recent decades. To put it another way, the road movie does not exist alone; nor does it exist so much in a particular place and time, as at the same time between different places. Without oversimplifying or neglecting the variety of possible configurations, we will try to determine what there can be in common in the articulation of a work of creation to the road as space-in-itself. This needs to be done independently of the forms that it is likely to take, royal or vernacular, highway or serpentine, and of the projects it supports. It seems to me that we can take the destabilization of identities, the percolations of the intercultural and the pollination of meaning characteristic of late capitalist societies, for the common denominator of the works which make displacement their determining issue. They constitute an experience of remembering, evaluation and remediation. In contemporary creation, the road appears as one of the ways to explore and respond to this general crisis of sensitivity. It is a way of deconstructing identities by systematically playing the logic of being against that of having, the contingent against the necessary, the peripheral against the centrality, to provoke a moral, ontological and cultural decentering of the subject. This makes the very decentering process valid in itself, and to which no explicit term is really assigned. Six films in chronological order,
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Dates et versions

hal-04479471 , version 1 (27-02-2024)

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  • HAL Id : hal-04479471 , version 1

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Lambert Barthelemy. “(...) THE ROAD AND ITS TURNINGS (...)”: ROADSCAPES IN ROAD MOVIES AND VISUAL ART. Sociopoétique de la route, Mar 2020, Clermont Ferrand, France. ⟨hal-04479471⟩
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