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Full Description
The first in-depth analysis of the films of Alexander Payne through the lenses of authorship, tourism, and leisure.
With the films Election, About Schmidt, Sideways, Nebraska, and The Holdovers, Alexander Payne has carved out an unusual role in American cinema as a bankable auteur. There is something about Payne's neurotics and searchers, his working stiffs and disillusioned idealists-something funny, moving, and filled with insight.
Jason Sperb dissects Payne's oeuvre, focusing on the director's penchant for travel narratives. Payne's films usually center on male protagonists discontent with the emotional and material realities of the day-to-day and seeking satisfaction in some literal or metaphorical elsewhere. But their attempts to escape wind up perpetuating, rather than alleviating, the imbalance between labor and leisure that structures modern life. In this sense, Sperb argues, Payne's characters are akin to tourists, searching for fleeting glimpses of the fulfillment they dream about. Examining themes of masculinity, nostalgia, whiteness, and class, The Stranger from Omaha is the first auteur study devoted to Payne's delicately balanced cinematic world. An outsider even in his own heartland, Payne proves to be an artist working at a clarifying remove-a witness to the American condition, observing from just enough distance.
Contents
List of Illustrations
Introduction. The Stranger from Omaha
1. Very Keen Powers of Observation: Landscapes & Wanderings (Setting)
2. Not for Ourselves Alone: Voice(s) & Interpretation (Backstory)
3. The Weak Died Along the Way: Ideology & White Masculinity (Status Quo)
4. Takes the Pressure Right Off: Class & Labor (Catalyst)
5. You Were Walking to Nebraska? Travel & Tourism (Journeys)
6. The Day After Yesterday: Nostalgia & History (Crisis)
7. Not Too Much Sadness . . . Because I Felt Alive: Catharsis & Grace (Resolution)
Acknowledgements
Notes
Films of Alexander Payne
Selected Bibliography
Index
