Abstract
Famous for his road movies, WimWenders, has a deeper understanding of the word; motion. More than often,Wenders tells the story of wanderers by putting them in a constant state oftravel. These travels alter thewanderers’ characters and play a key role in Wenders’ storytelling. This paperstudies Wim Wenders’ way of characterization in three parts. The first partstates out keywords to define Wim Wenders’ wanderers: movement/motion, thejourney, homesickness, spatial levels, the Ozu connection. And it mainlyfocuses on his road trilogy: Im Lauf der Zeit (1976), FalscheBewegung (1975), and Alice in den Städten (1974), whileexplaining the stated keywords. The second part only focuses on Paris, Texas(1984) and its main character Travis, who might be seen as the ultimatewanderer whom all other Wenders’ characters blend in to. Thethird and the final part takes Der Himmel Über Berlin (1987) as ‘avertical road movie’ hoping for finding a cure for the worldwide homesicknessthat all the Wenders’ wanderers suffer. Also there are a handful of musicreferences hidden through the paper in homage to director’s love for rock ‘n’roll music.
Highlights
This journal is published by the University Library System of the University of Pittsburgh as part of its D-‐Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press
Following Henri Bergson's footsteps even the director himself admits he has a deeper understanding for the word; 'Motion...Motion pictures
In Alice in den Städten (1974), Alice (Yella Rottländer) watches New York from the top of the Empire State Building. She surveys the city without paying attention to anything in particular until a white bird passes by the Flatiron Building
Summary
The meeting moments in Wim Wenders' road movies plays a similar role in each story, yet forming just another common motive for the director. The birth and death images refer, to the birth and death of the men's friendship.' (Geist 1983: 237) And Timothy Corrigan states there is a second journey the movie tells (1981-82); 'the voyage through the film itself which involves both the spectator's experience of the film and an analysis of the film mechanism as means of communication.' (94) Starting from the first scene Wim Wenders continues to play with the viewer's expectations, as Michael Covino states: (1977-78)
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