Project Abstract My capstone research project deals with the film industry and how it has influenced the public's perception of the motorcycle culture. In my paper I argue that the biker culture has been grossly misunderstood due to films such as "The Wild One," and "Easy Rider." Through exploitation, as well as the use of specific cultural influence, these movies were greatly effective in creating an image of the biker culture that created fear and hatred towards a misunderstood group. In order to show the reality behind the motorcycle culture, I explore the contemporary demographics of the riders.

Project Context & Contributions The topic I have chosen deals with the public's current perception of motorcycle culture. I chose this topic with the help of Professor Darling in an attempt to connect my focus of film with a current issue of interest. I hope to uncover the reality behind motorcycle culture, which, I'm finding, has been developing into a scene of middle class men and women wishing to envoke the freedom and fun associated with motorcycles since their inception. I feel that the motorcycle represents the American Dream, in that the dream of freedom, happiness and independence can be attained, but in reality it is a short escape from the daily life of the middle class.

Project Format My research project will be presented in research paper form, supplemented with a presentation board during the capstone festival.

http://www.film.org.pl/prace/easy-rider.html

Research Questions What effect have past motorcycle movies had on current public perception of the culture? How do the movies influence public perception? Does film accurately portray biker culture? What does the current landscape of motorcycle culture look like?

Key Findings Unlike the news media, film is able to carry its message on for generations, and for "The Wild One," and "Easy Rider," that message is one of negativity and alienation. As a burgeoning sector of postwar culture, the motorcycle culture had been given its initial recrimination through the news. After the film industry picked up on it, however, that tie to chaos, violence, and anything anti-American was connected for decades. But as the culture continues to grow, the overwhelming numbers of middle-aged, upper-middle class riders disconnects those assumptions, and exposes the reality behind the culture. Kramer's vision of the outlaw biker presented an out of control band of youthful miscreants. Hip and popular, they represented everything that the mature audience would hate and the kids would love, furthering the divide between youth and their elders. Kramer's film introduced the world to the image of the outlaw biker: leather jacket, greased-back hair, swaggering demeanor, and most importantly, an almost intrinsic disrespect and hatred for the law. Warning audiences the world over, this band of outlaw bikers was presented as a civil problem waiting to happen in the next small town. "The Wild One" was aimed directly at adolescents, snaring them with the good looks of Brando and Marvin, all the while holding them with a cheesy love story. A powerful and influential film, the implications of this genre of movie would set into motion a genre of film lasting more than twenty years. "Easy Rider," filmed sixteen years after "The Wild One," was subtler in its tone toward the outlaw biker, but its influences are no less significant. "Easy Rider" reached out to an older crowd, yet maintained the standard of immaturity of the motorcycle rider, as portrayed in "The Wild One." The main characters, Wyatt and Billy, struck a chord with the counterculture audience, reaching to drugs and spiritual, sexual, and personal independence as a sort of key to the association. Spreading the message that bikers are no-good hippie punks, "Easy Rider," just as with "The Wild One," shed light on a significant cultural divide between the counterculture and everyone else. Ending with the sudden deaths of Wyatt and Billy, "Easy Rider" sends a strong message about public opinion in regards to the motorcycle rider. Supported by the images and myths presented in film, public opinion can easily become misdirected from reality. We must consider the evidence that researchers are discovering today, however, in order to remove the myths that surround biker culture. Factors such as age, lifestyle and beliefs are all much different than what these movies of the past would have you believe. We are currently in the middle of a strong change that is taking over the cultural norms of the biker crowd, as riders continue to increase in age, wealth, and education. To own a motorcycle has gone from the stuff of movies and outlaws to a hobby that can include family and friends. These new riders hold nine to five jobs, have 2.5 kids, stand anywhere between poor and rich, and are acquiring college degrees, and in a once male-dominated culture, more and more women are getting off of the back seat and opting for the handlebars. In an effort to continue this search for the uniqueness of motorcycle culture, I encourage those with an interest to continue this research into the biker film, as I have only looked at two specific films. There are thousands of instances in which bikers have been portrayed in Hollywood, and to continue to study how they are portrayed is pivotal in drawing a more clear and strong image of the Hollywood biker. As I write this, the film “Wild Hogs” is playing in theaters. It presents the idea of four middle-aged men who take a road trip on their large American motorcycles. Analysis of this transforming image of the biker would add significantly to the support in my research. To have that kind of information is ammunition against the continuing fear and trepidation that surrounds their community, as it is my wish for a common understanding to evolve, one that exercises the positive images that should surround the community of bikers.

Evidence The methodology of my research can be divided between two equally important forms. The first method consists of a historical analysis on the movies "The Wild One" and "Easy Rider." Movies, unlike the news media, has the capability to remain at the forefront of a culture's impact on the society, and for the motorcycle culture, this is just what has happened. From the late fifties into the seventies it was common to hear news stories reporting on the most recent outlaw act from bikers in the U.S. Today, however, even though these groups still exist, the coverage has died down significantly. But in order to gain a historical perspective on the past, all one has to do is watch a movie. This "perspective" gained from such films causes just the problem I am researching: the public's misinterpretation of historical accounts through film. The stereotypes of the past still exist today, and I believe it is due to films such as these. The second form of methodology my research is taking is through critical cultural analysis. To show just how wrong some may be in their regard to the current scene of biker culture, I am researching contemporary demographics of motorcycle owners. Through this knowledge I can show the progression from biker culture, as well as dispel the myths of the 'outlaw biker' still run amok amongst U.S. highways.

Primary Sources Barger, Sonny. "Hell's Angels: The Life and Times of Sonny Barger and the Hell's Angels Motorcycle Club." Harper Paperbacks, 2001. Easy Rider. Dennis Hopper. Colombia Pictures Corporation. 1969. The Wild One. Laszlo Benedek. Stanley Kramer Productions. 1953. Thompson, Hunter S. Hell's Angels. New York: Ballantine, 1966. Secondary Sources Frost, Dan. "Growing older, but not up." American Demographics 20.9 (1998): 58-64. "Full Speed Ahead." American Demographics 25.7 (2003): 20-21. Hayes, Bill. The Original Wild Ones: Tales of the Boozefighters Motorcycle Club. Motorbooks Intl, 2005. Karlen, Neal. "Roaring Into Town and Saying, 'Excuse Me.'" The New York Times 9 Aug. 2002: F1. Krakauer, Jon. "A Hog is still a hog, but the 'wild ones' are tamer." Smithsonian Nov. 1993: 88-97. Osgerby, Bill. "Sleazy Riders: Exploitation, 'Otherness,' and Transgression in the 1960's Biker Movie." Journal of Popular Film and Television 31.3 (2003): 98-108. Salisbury, Mike. "Hey Johnny, What Are You Rebelling Against?" Forbes 174 (2004): 92-97. Scelfo, Julie. "Move Aside, Easy Rider." Newsweek 28 June 2004: 44. Sillars, Les. "Born to be self-actualized." Alberta Report / Newsmagazine 22.17 (1995): 21. Welch, William M. "Officials in biker mecca opt for mild over wild." USA Today 5 April 2006: 5. Wood, John. "Hell's Angels and the Illusion of the Counterculture." Journal of Popular Culture 37.2 (2003): 336-51. Yamamoto, Kaori. "Shifting Into High Gear." American Demographics 21.6 (1999): 24.