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dc.contributor.authorBeckman, Karen
dc.date.accessioned2021-02-10T14:48:45Z
dc.date.available2021-02-10T14:48:45Z
dc.date.issued2010
dc.identifierhttps://library.oapen.org/handle/20.500.12657/43825
dc.identifier51481*
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/37758
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.rightsopen access
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.isPublishedBy8b9381d6-252e-4bed-8478-ee620c861aac
oapen.relation.isFundedBy969f21b5-ac00-4517-9de2-44973eec6874
oapen.relation.isbn9780822392767
oapen.collectionKnowledge Unlatched (KU)
oapen.imprintDuke University Press
dc.dateSubmitted2020-12-15T14:01:31Z
dc.number103928
dc.relationisFundedByb818ba9d-2dd9-4fd7-a364-7f305aef7ee9


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