This article examines the role of automobility in the Greek cinema of the 1960s. It focuses on the representations of the automobile’s domestication in selected films. Particular attention is paid to the technical and symbolic reconstruction of space and the redefinition of socioeconomic and gender stereotypes. The article’s conclusions concern the role of the automobile in a specific period within Greek film history, as well as its place within cinema in general and in the theoretical and material construction of what is perceived as ‘modernity’.

Invasion of the Body Snatchers (dir. Don Siegel, 1956), The Birds (dir. Alfred Hitchcock, 1963), and Night of the Living Dead (dir. George Romero, 1968) imbue scenes that take place at a gas pump with a horror so intense, it petrifies. As three of the earliest American horror films to feature a monstrous exchange at the pump, they transform the genre by reimagining automotive affect. This article examines the cinematic mood created when petrification meets petroleum, providing an alternative look at American oil culture after 1956, but before the oil crisis of 1973.

Self-driving cars have long been depicted in cinematic narratives, across genres from science fiction films to fantasy films. In some cases, a self-driving car is personified as one of the main characters. This article examines cinematic representations and imaginaries in order to understand the development of the self-driving technology and its integration in contemporary societies, drawing on examples such as The Love Bug, Knight Rider, Minority Report and I, Robot. Conceptually and methodologically, the article combines close readings of films with technological concerns and theoretical considerations, in an attempt to grasp the entanglement of cinematographic imaginaries, audiovisual technologies, artificial intelligence and human interactions that characterise the introduction of self-driving cars in contemporary societies. The human–AI machine interaction is considered both on technological and theoretical levels. Issues of automation, agency and disengagement are traced in cinematic representations and tackled, calling into question the concepts of socio-technical assemblage.

This article examines how the ironic construction of queer masculinity from biker culture, a realm of consumer fetishism and hetero-masculinity, in Kenneth Anger’s Scorpio Rising (1964), influences Nicolas Winding Refn’s 2011 film Drive. As Anger’s film appropriates pop-culture images and icons of biker culture, fetishes of post-Second World War American masculinity, Refn uses overt references to Anger’s film to wage a similar reappropriation of muscle car culture, in the process challenging contemporary images of heterosexual masculinity in Drive. Like Anger, Refn relies upon the dynamics of fetishism and postmodernism’s illumination of the distance between sign and object to subvert muscle cars’ associations with masculine violence and rivalry, mobilising them instead to exploit the inherent multivocality of the fetishised object, seizing the car (and its mobility) as a getaway vehicle to escape prescriptions of identity and limiting definitions of gender and sexuality.

The open road is popularly imagined as both cinematic and male, a space suited to the scope afforded by the cinema and the breadth demanded by the male psyche. However, while these connotations are ingrained within the aesthetics of driving, its kinaesthetics – the articulations between bodies, movement and space – have more in common with television and with stories of women’s desire. Drawing from Iris Marion Young’s theories of gendered embodiment, this article argues that driving, television and female desire are all marked by the same contradictions between movement and stability, and between public and private. It analyses two recent television programmes concerned with women behind the wheel – Black Mirror’s ‘San Junipero’ (Netflix, 2016) and the first two seasons of Big Little Lies (HBO, 2017–present) – to argue that driving on television affords a space through which to negotiate feminine embodiment, agency and desire.