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dc.contributor.authorBeckman, Karen
dc.date.accessioned2020-12-15T14:01:31Z
dc.date.available2020-12-15T14:01:31Z
dc.date.issued2010
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/43825
dc.description.abstractArtists, 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.
dc.languageEnglish
dc.subject.classificationthema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticismen_US
dc.subject.otherPerforming Arts
dc.subject.otherFilm
dc.subject.otherHistory & Criticism
dc.titleCrash
dc.title.alternativeCinema and the Politics of Speed and Stasis
dc.typebook
oapen.identifier.doihttps://doi.org/10.1215/9780822392767
oapen.relation.isPublishedByf0d6aaef-4159-4e01-b1ea-a7145b2ab14b
oapen.relation.isFundedByb818ba9d-2dd9-4fd7-a364-7f305aef7ee9
oapen.relation.isbn9780822392767
oapen.collectionKnowledge Unlatched (KU)
oapen.imprintDuke University Press
oapen.identifierhttps://openresearchlibrary.org/viewer/14bd55eb-899f-4205-b3a7-8e0d0c0ecf48
oapen.identifier.isbn9780822392767
grantor.number103928


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