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European road movies also examine post-colonialism, "disclocation, memory and identity". Road movies from Spain have a strong American influence, with the films incorporating the road movie-comedy genre hybrid made popular in US films such as Peter Farrelly's Dumb and Dumber (1994).
Post-colonial films set in contemporary times reorient the approach to residual colonial issues. In these films, the effects of historical events are shown to be still present, but the story is not driven by explicitly post-colonial narratives.
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Feb 22, 2018 · Postcolonial theory originally emerged from comparative literature departments and film from film and media studies departments, and despite the many intersections postcolonial theory has not been explicitly foregrounded. However, there are more similarities and natural points of intersections between the two areas than it would at first appear.
Mar 25, 2017 · Original Post from the Huffington Post by Josua Ostroff Colonization is a word – much like, say, privilege – that makes some people tune out. That was a long time ago, they may think. Or maybe, like former Prime Minister Stephen Harper opining at a 2009 G20 summit, they might consider Canada as having "no history of colonialism."
A road movie is a film genre in which the main characters leave home on a road trip, typically altering the perspective from their everyday lives. Road movies often depict travel in the hinterlands, with the films exploring the theme of alienation and examining the tensions and issues of the cultural identity of a nation or historical period; this is all often enmeshed in a mood of actual or ...
This defining feature of the genre was central to identifying precarious transportation as a recurrent motif in Latin American road movies such as Central Station, The Motorcycle Diaries and Rolling Family and to analyse Embrace of the Serpent’s postcolonial critique through its refusal of the road.
Such a reframing foregrounds the diversity of Latin American road movies and their contribution to global film production, and refutes the notion that these films are mere attempts to copy Hollywood. Clearly, treating film production from different parts of the world as Hollywood's ‘other’ is not a problem exclusive to the road movie genre ...
