HOT ROD MAGAZINE PDF
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All digital issues of HOT ROD magazine, read, view online and download free pdf . 3 days ago Family Truckster Replica Sells for Nearly $K at Barrett-Jackson Palm Beach! Jacob Davis - April 13, Seemingly anything can happen. Rat Rod Magazine - Rat Rod magazine is the nation's only publication dedicated entirely to rat rods and rat rod culture. Rat rods are blue-collar hot rods built.
A self-identified cycle of hot rod music occurred much later, between and In this cycle, hot rods were part of a leisure culture and had become as mainstream as surfing and as unthreatening as beach party movies Chidester and Priore Hot rod subculture was sufficiently in the public eye in for it to be Downloaded by [Peter Stanfield] at And avant-garde filmmaker Kenneth Anger gave it a camp twist in Kustom Kar Kommandos , which featured a hot- rodder in skin-tight jeans and shirt polishing his rod with a large powder puff.
Some hot-rodders still ran illegal road races, as fictionalized in Two-Lane Blacktop , but the mainstream media showed little interest in these activities. By the early s, the image of hot-rodding as an outlaw culture was almost wholly seen as a nostalgic turn, particularly after the box-office success of American Graffiti The emergence of a hot rod movie cycle As a high-profile media phenomenon with obvious exploitation angles — and as a subculture based on the West Coast, which offered easy access to customized cars — hot-rodding inspired film productions early on, with The Devil on Wheels and Hot Rod , produced by low-budget specialists PRC and Monogram, respectively.
Hot rods also featured in other films, such as the Mickey Rooney vehicle The Big Wheel , which included them as part of its depiction of the culture of automobile racing. Rooney progresses from driving self-built hot rods to appearing as a professional driver at the Indie These were all self-conscious attempts to cash in on the automobile customization fad.
Stanfield Blackboard Jungle Hot rods appear in these films because they have use value, aiding story development and adding to their topical attractions by providing what American International Pictures AIP producer James H. In Appointment With Danger a speeding hot rod distracts a motorcycle cop just as he is about to confront two murderers disposing of a body.
The Downloaded by [Peter Stanfield] at Tiger in the Sky uses a hot rod to emphasize the unruliness of the protagonist, who later realizes and legitimizes his need for speed as a jet pilot.
Like much of the teenpix trend, hot rod movies dealt with self policing and regulation of leisure activity. The narrative of the dragstrip cycle. Inevitably resolution means the containment of teenage energies within a limited, supervised arena. Moorhouse , 57 For those involved in organizing and directly exploiting the sport, the economic imperative behind this pursuit of safety and respectability is self-evident, but it was the reckless stunts hot-rodders performed on public highways that primarily attracted the purveyors of entertainment to the topic.
Doherty , Given all the media excitement around teenagers and hot rods, Rebel, however, was following a trend as much as setting one. Cast and crew for both movies were much the same, as were the Griffith Park locations for the race scenes.
The fad for the juvenile-delinquent-speed-crazy-automobile-movie faded by the middle of the following year. Running alongside the hot rod cycle were other car-centric films produced by the same set of companies, such as The Fast and the Furious , Running Wild , Party Crashers , and sports car dramas such as Joy Ride, Young and Wild, both , and Roadracers, Daddy-O, Speed Crazy all Stanfield hot rod was also a regularly used prop throughout the juvenile delinquency trend and featured, for example, in The Delinquents , High School Confidential and Live Fast, Die Young both This glut of youth-centric films had intent to speed and the promise of sensations and thrills-a-plenty.
For the most part these films were the product of new independent companies that exploited the gap in the market left by the major studios, which were abandoning the production of genre films or programmes to concentrate their resources on fewer, more expensive features see Davis The lack of films designed for double billing was partly filled by the move of distributors and a few exhibitors into production.
In his study of horror films and the movie business of the s and s, Kevin Heffernan highlights the Downloaded by [Peter Stanfield] at The shortage of product was compounded by falling attendance and by the recognition that the teenager was the primary habitual cinemagoer in neighbourhood, second, and subsequent run theatres.
As film economist John Sedgwick writes: Film production and marketing strategies made strenuous efforts to cultivate and retain this audience, utilizing sensationalist advertising as a key ploy.
The films and the advertising both depended on a schizophrenic conception of the teenager as not only a valued consumer but also a figure to be held in some dread. Heffernan writes: Heffernan , 67 This is true not only of the horror film but also of other films within the juvenile delinquency trend, especially the hot rod pix. This kind of advertising addressed what Heffernan defines as the carnival-like attractions of low-budget films, horror or otherwise. I always think of the title first.
The story comes last. After the title come the advertising ideas — the gimmick, the illustrations, for these are what get the kids into the theatre. Then comes the story — and every drop of blood and graveyard shudder must be as advertised. The film was promoted via an image of an accelerating culture, with young people, untamed and running wild, in a parade of thrilling scenes.
The promotion of the double bill, however, exceeds what the films are able to deliver. Boy Crazy! The Double Thrill Sensation of the Century! Just as the lurid covers of pulp magazines and paperbacks promised all sorts of wonders, thrills, sensations, and curiosities but mostly provided a seductive covering for prosaic and formulaic stories, the hot rod films similarly failed to deliver on the sensational claims of their posters. Contrary to the excesses of the marketing hype, the films are remarkably reticent in detailing the pleasures and dangers of teenage escapades.
They also counterbalance any perceived acts of transgression by emphasizing the punitive measures sanctioned by a sympathetic figure of authority.
The discrepancy between the sensational promise of the advertising and the rather affectless films needs, however, further clarification. For the cinematic representation of speed to be thrilling, Wollen insists, it must be connected to various forms of struggle or contest — such as a race or chase sequence.
However, as we can see from the hot rod movies, the mere presence of such narrative elements is not sufficient to render a film exhilarating. Using Hitchcock movies as his example, Wollen suggests that the cinema audience does more than merely witness a thrilling event, as in the theatre or the circus, but is invited to participate vicariously in the action. Stanfield provision of multiple viewpoints on and within the action, as well as a rhythmic coordination of shots to build excitement.
We see his face — grim, tense, even horror-stricken — as his plane swoops down. That is good cinema. In Rebel, the leader of a teenage gang dares a newcomer to a car race in which a cliff edge forms the finishing line. The first one to bailout will be the chicken.
They must park their cars across the railroad tracks and the first one to pull away as a train bears down on them will be the chicken.
Two similar scenarios, but articulated in distinct ways. Rebel sets up its chicken scene by showing what will befall the driver who does not escape in time. A carefully elaborated series of shots provide the respective viewpoints of Buzz, Jim, and Judy Corey Allen, James Dean, and Natalie Wood , as well as establishing the great drop between the cliff edge and the sea and rocks below. The chicken scenario in Dragstrip does not provide an equivalent visualization of the scene, and presents the event in a blunt and prosaic manner.
A crowd of teenagers gather to watch the stunt in Rebel, surrogates for the cinema audience, but in Dragstrip there are only two spectators — acting like seconds in a duel — who are used to provide a cursory visual reaction to the unfolding events. In Rebel the large audience, gathered to witness the stunt, help to generate a sense of expectation, excitement, and fear.
In Dragstrip the set-up involves cutting back and forth between the drivers readying their cars on the railroad track and their friends back at a diner, a scenario that takes up less than two minutes of screen time. Diegetic time is indicated by shots of a clock on the diner wall. Just as the crash appears to be imminent one boy pulls his car off the track to the left, the other waits a moment longer and pulls to the right.
The scene then shifts to the diner.
Suspense, of a limited kind, is created as they momentarily withhold their news, but is then quickly dissipated as they reveal that both drivers escaped unharmed. The editing strategy of the sequence presents a series of alternating close-ups of the two drivers the lights of the locomotive reflecting off their faces and cross-cuts back to the diner.
Information is withheld from the cinema audience, as it is for the waiting friends in the diner, so that suspense hangs on whether or not one of the drivers has been killed — a question that is very rapidly answered. In Downloaded by [Peter Stanfield] at Whatever tension there is in Dragstrip is built up by cutting between the drivers, the diner and wall clock , and the locomotive.
In Rebel it is ratcheted-up from the moment Judy stands arms aloft in the glare of the car headlights, acting as a master of ceremonies. The action is held in suspended animation until Judy leaps into the air and brings down her arms. As the cars race past her toward the cliff edge, she spins around, racing after them, her skirt blooming up behind her.
Jim bails, but Buzz goes over the top.
HOT ROD magazine
Arguably, this is a formal ploy that enables a thrilling situation to be evoked but not enacted. The strategy, if it is such, is a tease. The suggestion is that the filmmakers are tantalizing their audience with the promise of thrills, but withholding that which is most desired. The strategy guards against censorship, ensuring that potentially transgressive aspects of the film are alluded to but not shown.
The movie is thus rendered as a harmless and uncontroversial entertainment. Stanfield chicken scene crafts a dramatic and interactive experience, Dragstrip makes only a minimal gesture toward such a dynamic.
In The Delinquents, for example, teenage gang members ride around in cars, rumble in a drive-in theatre, and hang out at a drive-in restaurant. Though drive-in movie theatres had been around since , they were essentially a post-war phenomenon. There were 25 drive-ins in , three years later, a further were built in the next two years, and there were Downloaded by [Peter Stanfield] at The major studios, however, systematically refused drive-ins first run releases, which was a major factor in why AIP and other independent producers were able to become such prodigious suppliers for this market.
The drive-ins were frequently demonized in the same terms as the teenpix designed to play in such arenas. While drive-ins were disreputable in their appeal to juveniles, the marginal, and the infirm, they were also accused of being a danger to non-users. Variety reported that drive-ins could prove a traffic hazard; as drivers on the highways that passed them often slowed down to gawp at the illuminated screens Variety, b, 1.
These distracted drivers on the highway mirrored the distracted viewer in the drive-in who, apart from the film, had many calls on his or her attention. With all the attractions on offer — playgrounds for children, shopping, eating, tournaments, contests, parades, and launderettes — the drive-in was more akin to an amusement park than a cinema. The cycle expended minor variations with giddying velocity while holding true to a formula. This unfolding of slight modulations, or the promotion of regular novelties, is particularly apparent in the posters for four films in the cycle, Dragstrip Girl, Hot Rod Gang, Dragstrip Riot, and Hot Rod Rumble see Figures 1 — 4.
Red and yellow, hot colours, predominant. The poster for Dragstrip Girl is split into four panels. A girl and a boy are driving the cars; to their rear is a line of hot rods racing on a circular track. The top panel is the largest of the four. Speed Crazy!
They are about to kiss. This insinuation of torrid desire suggests a sexual yearning that is unchecked and unfettered, like the careening hot rods straddled by the long-limbed youth. With its ostentatious flaunting of sensation, the poster promises a sexual ride that will match the helter-skelter thrills of speeding automobiles. The poster for Hot Rod Gang is formed of three panels with a white central panel separating the credit bar and the main panel. With her head flung back, her mouth agape, and a bullet shaped bra straining her sweater to its outer limits, she offers a spectacle of unbridled ecstasy.
The bearded singer and ducktailed guitarist who occupy the bottom right-hand side of the panel suggest the source of her rapture. Ripping across the top and central panels, and heading in a diagonal toward the bottom left-hand corner, is an illustration of two speeding hot rods.
In the leading car, a girl in a yellow sweater stands on the passenger side, with one hand holding the windscreen and the other held high. Pulling up hard behind her is a yellow hot rod whose male passenger is likewise out of his seat, though he is leaning forward and waving a fist.
Hot Rod Rumble has a credit bar over the main illustration. Beneath the title, two cars have crashed together, their front wheels spinning high above the road.
Towering over the automobiles is a strawberry blonde, her torso contorted so that she is twisting toward the viewer, providing both a sidelong glance at her chest and a view of her backside. Stanfield Downloaded by [Peter Stanfield] at Hot Rod Gang Indio Productions, Dragstrip Riot Trans World Productions, Stanfield jacket draped over her shoulder. In line with her chest and head is a photographic insert with a scene from the movie of leather-jacketed youths in a punch up.
There is no tagline, but the sexual frenzy that is evoked by the images of male violence, female pulchritude, and runaway automobiles does not require textual explication.
At Miles Per Hour!! As their vehicles hurtle forward, two boys are depicted in a seemingly mortal struggle. A girl in the passenger seat of the car is witness to this Downloaded by [Peter Stanfield] at She is wearing a red jacket, which visually rhymes with the red Triumph ridden by the boy intent on striking the driver of the car she is in.
The car and bike break out of the panel, their wheels crossing into the title bar. The posters all work on a gendered demarcation of the promised thrills, articulating a link between the curved bodies of women and cars. The women function as props for the speed thrills offered to the young men, but they are not in themselves the subjects of such transgressive fantasies.
The acts of transgression are conservatively codified, both in generic and gendered terms — with men acting out violent impulses in front of women.
The posters address a male audience and are symptomatic of a shift from the studio era, when films were geared toward a female audience, to the post-studio era, when young men became the principal target of film producers. A key theme in his work of the period was the idea of a popular culture that was resolutely defined through its topicality. The immediacy of the appeal of popular culture was part of its attraction for the artists and critics who formed the Independent Group IG that Hamilton belonged to, and which also included Lawrence Alloway, Rayner Banham, Eduardo Paolozzi, and John McHale.
As theorized by the IG, popular culture was, in counterpoint to the fine arts, defined as transient and evanescent Stanfield , — Writing in McHale notes: Almost as soon as a trend becomes recognizable, and can be labelled, the image series has become obsolete.
Expendability is built in and so furnishes an initial criteria. Rapid turnover in iconography in any sector varies strictly according to acceptance, to success which is its own accelerator.
The expendable nature of the movies was part of their appeal and like seasonal fashion changes, the film cycle contains within it its own demise; it is dying in the very process of being born.
In July , the New York Times reported that the juvenile delinquency film cycle had come to an end: This does not mean, however, that delinquency among the young decreased. The cultural historian James Gilbert notes that media reporting on the phenomenon peaked between and and thereafter dissipated, even though juvenile delinquency as a criminal problem actually increased after Stanfield subculture was formed and shaped by the developing exhibition needs of the drive-in.
Production of this cycle peaked at the height of attendance at drive-ins in — 57 and then declined as patronage dropped thereafter, filmmakers only exploited the subculture when it had value to them that extended beyond its timeliness. In — 58 the hot rod movie filled a need for a product that was no longer being provided by the big studios, a product that was now being supplied by independent distributors and exhibitors who were moving into film production to satisfy a gap in the market.
Tour Stops along the way on the power tour are often considered to be venues and often feature entertainment, celebrities, games, and giveaways. ValuSoft has published Hot Rod: American Street Drag and Hot Rod: Garage to Glory , drag racing video games in which the goal is to win the cover feature of Hot Rod magazine. From Wikipedia, the free encyclopedia. Alliance for Audited Media. December 31, Retrieved June 21, Sports in the Pulp Magazines. Retrieved October 19, Moorhouse Sport and Specialist Magazines".
The International Journal of the History of Sport. The New York Times. Untitled item in Hot Rod Magazine , February , p. Motor Trend Group. Retrieved from " https: American automobile magazines Magazines established in American monthly magazines Magazines published in Los Angeles Automotive events.
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