The American Culture

The main argument, is that the chaotic conditions of the post-World war II world, particularly starting in the 1960s, has created a company devoid of easily defined roles and absolute truths.

Wim Wenders has used the road movie format in piece of musicy of his best films including Paris, Texas. His sentiment usually involves a man, disassociated with civilization, who takes to the road looking for "a meaty existence or at the very least proofread of his existence" (Barnes). The latter is the case with Travis (Harry Dean Stanton), a man suffering from amnesia and a self-imposed exile who turns up in a small desert town. The image of Travis walk centering through the barren landscape along the Texas/Mexico border conveys the nose out of hallucination characteristic of postmodern characters. The same sense of alienation is felt by the two male characters in weird Than Paradise. Willie (John Lurie) and his buddy Eddie (Richard Edson) lead dull, meaningless lives in New York City, principally gambling, smoking and watching television. Their lives take on some stumble when Willie's teenaged cousin Eva (Eszter Balint) arrives in New York on her way to visit her aunt in Cleveland, unless overall the pocketable more than a week the three spend in concert is boring.

Paris, Texas and Stranger Than Paradise involve two roa

The Arts. Article: 971002 ISSN: 1088-5870, 1997.

Travis' disassociation, his isolation, his search for self-identity and assumption of the role of begetter make him both a postmodern and an existential character. His discouragement and alienation, as intumesce as his decision to take righteousness for his actions put him in the existential camp. According the Jean-Paul Sartre, the two main principles of Existentialism ar that "existence precedes essence" and that "man is vigor else but that which he makes of himself" (Existentialism is a Humanism).

Sartre also states that human beings are not just creditworthy for their own individuality, but responsible for all people, and Travis' decision to reunite mother and son bears this out. In existential fashion, Travis strives to create moral values that will shoot some meaning to his life. Existential characters are men in anguish and despair, and both Travis and Willie fit this description.

Carveth, Donald A. The Borderline Dilemma in Paris, Texas.

The second road trip to Florida is made by Willie, Eddie and Eva, but wherever they go life is the same for them; they are special(a) to an existential reliance upon their own wills, and their own wills are wanting. The existential view that existence is prior to essence implies that Willie's condition (as well as Eddie's and Eva's) is what defines human nature, rather then the other way around. Both road trips reveal characters trapped in lives that step forward even to them to be pointless. In Stranger Than Paradise, as in Paris, Texas, characters live in a postmodern, existential society lacking easily defined roles and absolute truths. Even when they attempt to define a purpose in life, they end up spaced in a meaningless existence.

http://www.marxists.org/reference/ scroll/sartre/works

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