The weight of the cinematic landscape in Wim Wenders' road trilogy films

Name: The weight of the cinematic landscape in Wim Wenders' road trilogy films
Author: Çavuş, Metin

İsim	The weight of the cinematic landscape in Wim Wenders' road trilogy films
Yazar	Çavuş, Metin
Basım Tarihi:	2023
Basım Yeri	- IGI Global
Tür	Kitap
Dil	İngilizce
Dijital	Evet
Yazma	Hayır
Kütüphane:	Özyeğin Üniversitesi
Demirbaş Numarası	978-166847865-3
Kayıt Numarası	999579ec-f2e1-4b83-b966-d8c8af7d4acb
Lokasyon	Communication Design
Tarih	2023
Örnek Metin	The three films that create Wim Wenders' Road Trilogy (Alice in the Cities, Wrong Move, Kings of the Road) are examples of modern cinema. Even though landscapes occupy an important place in road movies, in Wenders' modern trilogy they are much more critical. Here, Wenders experiments with different styles of modern cinema, and the presentation of landscapes is very diverse. In one film, long landscape scenes interrupt the narrative; in another, they have an alienating effect. Landscapes with different formal applications help to reflect the inner journeys of the characters. In the Road Trilogy, the cinematic landscape is a complex production with multiple intertextual references and the tension between different gazes complicates its representation. Rather than being 'pure', the autonomous landscapes in Wenders' films are dialectic constructs helping the characters to change. Wenders emerges as a pragmatic director experimenting with different formal practices in his early period.
DOI	10.4018/978-1-6684-7864-6.ch014

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The weight of the cinematic landscape in Wim Wenders' road trilogy films

Yazar Çavuş, Metin

Basım Tarihi 2023

Basım Yeri - IGI Global

Tür Kitap

Dil İngilizce

Dijital Evet

Yazma Hayır

Kütüphane Özyeğin Üniversitesi

Demirbaş Numarası 978-166847865-3

Kayıt Numarası 999579ec-f2e1-4b83-b966-d8c8af7d4acb

Lokasyon Communication Design

Tarih 2023

Örnek Metin The three films that create Wim Wenders' Road Trilogy (Alice in the Cities, Wrong Move, Kings of the Road) are examples of modern cinema. Even though landscapes occupy an important place in road movies, in Wenders' modern trilogy they are much more critical. Here, Wenders experiments with different styles of modern cinema, and the presentation of landscapes is very diverse. In one film, long landscape scenes interrupt the narrative; in another, they have an alienating effect. Landscapes with different formal applications help to reflect the inner journeys of the characters. In the Road Trilogy, the cinematic landscape is a complex production with multiple intertextual references and the tension between different gazes complicates its representation. Rather than being 'pure', the autonomous landscapes in Wenders' films are dialectic constructs helping the characters to change. Wenders emerges as a pragmatic director experimenting with different formal practices in his early period.

DOI 10.4018/978-1-6684-7864-6.ch014