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oapen-20.500.12657-438252021-01-25T13:50:38Z Crash Beckman, Karen Performing Arts Film History & Criticism bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFA Film theory & criticism Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the “cinema of attractions,” slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration. 2020-12-15T14:01:31Z 2020-12-15T14:01:31Z 2010 book 9780822392767 https://library.oapen.org/handle/20.500.12657/43825 eng application/pdf n/a external_content.pdf Duke University Press Duke University Press https://doi.org/10.1215/9780822392767 103928 https://doi.org/10.1215/9780822392767 f0d6aaef-4159-4e01-b1ea-a7145b2ab14b b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9780822392767 Knowledge Unlatched (KU) Duke University Press Knowledge Unlatched open access
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Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the “cinema of attractions,” slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration.
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