Au fil du temps (1976) ou la loi du seuil

By choosing to live in a truck, the heroes of Kings of the Road, a Wim Wenders film of 1976, have an exceptional experience of the threshold. They refuse to belong to a homeland and abandon the traditional idea of home. They travel along the split German territory through which runs a border that wi...

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Main Author: Isabelle Singer
Format: Article
Language:deu
Published: Conserveries Mémorielles 2010-04-01
Series:Conserveries Mémorielles
Subjects:
Online Access:https://journals.openedition.org/cm/437
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author Isabelle Singer
author_facet Isabelle Singer
author_sort Isabelle Singer
collection DOAJ
description By choosing to live in a truck, the heroes of Kings of the Road, a Wim Wenders film of 1976, have an exceptional experience of the threshold. They refuse to belong to a homeland and abandon the traditional idea of home. They travel along the split German territory through which runs a border that will remind them at every instant of the historical traumas. On the windshield of the truck, the outside (nameless countryside, abandoned cities…) and the inside interact. Kings of the Road questions the landscape and tries to recover the myths hidden in it. In this way, Wenders’ approach is similar to that of Anselm Kiefer. The German landscape provokes refusal because there is always more than what is visible: layers of guilt that the myth has covered. The choice of being a nomad is an anterior state of humanity, prior to the idea of a homeland. It is also the choice of loneliness as a refusal to uncover the myths. Belonging to the German territory is profoundly problematic as its Fathers are profoundly guilty. The history of cinema will work as a substitute to History itself. The main characters of the film are in search of a home in this land. On the road, cinema catches these beings on the threshold of hope.
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spelling doaj-art-aefa31707fd640a0ae644042e9e744352025-02-05T16:16:09ZdeuConserveries MémoriellesConserveries Mémorielles1718-55562010-04-01Au fil du temps (1976) ou la loi du seuilIsabelle SingerBy choosing to live in a truck, the heroes of Kings of the Road, a Wim Wenders film of 1976, have an exceptional experience of the threshold. They refuse to belong to a homeland and abandon the traditional idea of home. They travel along the split German territory through which runs a border that will remind them at every instant of the historical traumas. On the windshield of the truck, the outside (nameless countryside, abandoned cities…) and the inside interact. Kings of the Road questions the landscape and tries to recover the myths hidden in it. In this way, Wenders’ approach is similar to that of Anselm Kiefer. The German landscape provokes refusal because there is always more than what is visible: layers of guilt that the myth has covered. The choice of being a nomad is an anterior state of humanity, prior to the idea of a homeland. It is also the choice of loneliness as a refusal to uncover the myths. Belonging to the German territory is profoundly problematic as its Fathers are profoundly guilty. The history of cinema will work as a substitute to History itself. The main characters of the film are in search of a home in this land. On the road, cinema catches these beings on the threshold of hope.https://journals.openedition.org/cm/437movementhomeroadtruckcinemamyth
spellingShingle Isabelle Singer
Au fil du temps (1976) ou la loi du seuil
Conserveries Mémorielles
movement
home
road
truck
cinema
myth
title Au fil du temps (1976) ou la loi du seuil
title_full Au fil du temps (1976) ou la loi du seuil
title_fullStr Au fil du temps (1976) ou la loi du seuil
title_full_unstemmed Au fil du temps (1976) ou la loi du seuil
title_short Au fil du temps (1976) ou la loi du seuil
title_sort au fil du temps 1976 ou la loi du seuil
topic movement
home
road
truck
cinema
myth
url https://journals.openedition.org/cm/437
work_keys_str_mv AT isabellesinger aufildutemps1976oulaloiduseuil