A Real Human Being and a Real Hero: stylistic excess, dead time and intensified continuity in Nicolas Winding Refn’s Drive

Miklós Kiss, Anna Backman Rogers

    OnderzoeksoutputAcademicpeer review

    2 Citaten (Scopus)


    This article sets forth that Nicolas Winding Refn’s Drive (2011) exhibits a ‘complex transformation’ of an American film genre by foregrounding features associated with art cinema and, more specifically, European and auteur film-making. We argue that the film’s appeal derives precisely from an intelligent and cine-literate deployment of the tensions in this dichotomy of European/American film-making. As such, Drive is a film that foregrounds or reveals its own construction in a number of ways, but its appeal lies in the fact that it does not prevent intense emotional engagement on the part of the viewer. It is neither a cold exercise in mere style nor a simple copy of an earlier formula, but rather a film that manages to marry a number of narrative and stylistic features in such a way that the film itself, arguably, is not easy to categorize.
    Originele taal-2English
    Pagina's (van-tot)43-57
    TijdschriftNew Cinemas: Journal of Contemporary film
    Nummer van het tijdschrift1-2
    StatusPublished - 2014

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