Crash: Cinema and the Politics of Speed and Stasis

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9780822347262: Crash: Cinema and the Politics of Speed and Stasis

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. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film’s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema’s technology binds it to capitalism’s industrial systems and other media, technologies, and disciplines.

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From the Back Cover:

""Crash "is an extraordinarily original intervention in contemporary 'technophilic' discourses (even critical ones) focused on speed and mobility. As it resonates through a variety of cinematic and literary texts, Karen Beckman views the 'car crash' vividly (and viscerally) as a startling visual image, narrative thematic, and critical metaphor for what drives our contradictory desires for 'automobility, ' inertia, feeling, and community on a collision course both productive and destructive. As she moves across theories and disciplines, Beckman's textual and cultural analyses come together in a work that is passionate, illuminating, and politically engaged. "Crash" is a major contribution to film and media studies, comparative literature, art history, and cultural studies and, indeed, is a model of interdisciplinary scholarship."--Vivian Sobchack, author of "Carnal Thoughts: Embodiment and Moving Image Culture"

About the Author:

Karen Redrobe (formerly Beckman) is the Elliot and Roslyn Jaffe Professor of Film Studies in the Department of the History of Art at the University of Pennsylvania. She is author of Vanishing Women: Magic, Film, and Feminism; coeditor, with Jean Ma, of Still Moving: Between Cinema and Photography; and editor of Animating Film Theory, all published by Duke University Press.

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Karen Beckman
Editore: Duke University Press, United States (2010)
ISBN 10: 0822347261 ISBN 13: 9780822347262
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Descrizione libro Duke University Press, United States, 2010. Paperback. Condizione libro: New. Language: English . Brand New Book. Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro Gonzalez Inarritu and Ousmane Sembene 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. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema s technology binds it to capitalism s industrial systems and other media, technologies, and disciplines. Codice libro della libreria AAJ9780822347262

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Descrizione libro Duke University Press, United States, 2010. Paperback. Condizione libro: New. Language: English . Brand New Book. Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro Gonzalez Inarritu and Ousmane Sembene 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. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema s technology binds it to capitalism s industrial systems and other media, technologies, and disciplines. Codice libro della libreria AAJ9780822347262

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Descrizione libro Duke University Press. Paperback. Condizione libro: new. BRAND NEW, Crash: Cinema and the Politics of Speed and Stasis, Karen Beckman, Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro Gonzalez Inarritu and Ousmane Sembene 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 (particularly the still image of photography), and that these collisions between media offer useful ways to think about alterity. 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. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film's other qualities. Ultimately, Beckman suggests, film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema's technology binds it to capitalism's industrial systems and a variety of other media, technologies, and disciplines. Codice libro della libreria B9780822347262

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Descrizione libro Duke University Press, 2010. PAP. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria CA-9780822347262

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