Journeys are one of the main themes that transnational filmmakers use in their films. Although the motivation of these journeys can be varied such as “outward journey of escape, home seeking, and home founding; journeys of quest, homelessness, and lostness; and inward, homecoming journeys” (Naficy, 2001, 33) the journey itself is the main case for these directors. Since being in-between some places suits to explain being in-between some societies and some identities, these stories usually takes place on the roads, at the airports, the bus stations or the borderlines.
Atom Egoyan, as an Armenian born in Egypt and raised in Canada is one of the transnational filmmakers:
“[…] who are driven off or set free from their places of origin, by force or by choice, on agonizing require displacements and emplacements so profound, personal, and transformative as to shape not only the authors themselves and their films but also the authorship.” (Naficy, 2001, 34)
We can see the tracks of displaced, exiled filmmaker representing his tries to fit into another society and to find an identity by using his own filmic language in his films. Multilinguality, accented speech, epistolary tools, journey themes and many others observed in accented films, are also often seen in Egoyan’s films. In this manner, he also uses the in-between places such as airports, borders and insides of the means of transport; cars, planes, and busses to explain the situation of belonging neither of the societies he is living in and always being stuck between them. This paper will read some of Egoyan’s films; Ararat (2002), The Sweet Hereafter (1997), Exotica (1994), Calendar (1993) from this perspective and examine specific scenes where cars and other vehicles is used and what these scenes contribute to the general idea of transnational filmmaking. While reading these scenes, usage of epistolary tools and dialogs, placement of the scenes in the narrative structure, cinematographic features will be examined to explain the motivations of them. Moreover other “non-places” as airports in these films will be read due to their relevance to the main course.Read more