Crash

[A] fascinating study of the place of the car crash in cinema. . . . Although the book is written as a contribution to ongoing academic debates within film studies, the authors observations and arguments should nonetheless be interesting to film lovers. - Victor P. Corona, PopMatters Beckman does a thorough job depicting the history of the car crash throughout the years of cinema. Her passion for mobility and stasis is engaging through her timeline of the evolution of the automobile. Crash will appeal to those in film and media studies, as well as to lovers of cinema. By combining literature, film, history, and art, she provides not only a good read, but also room to think. - Stephanie Koury, International Journal of Communication Beckmans treatments are unfailingly interesting, and her arguments are provocative. . . . This important book will cause a stir in the field. Recommended. Upper-division undergraduates and above. - W. A. Vincent, Choice Crash: Cinema and the Politics of Speed and Stasis is exhaustively researched and argued with clarity. Blending cinema and media studies with a hard-edged critique of the capitalist machine, this book is both entertaining and enlightening. - Simon Sellars, Media International Australia Crash represents a major intervention in the field of film and media studies, and provides a model of thoughtful, nuanced scholarship[Beckmans] persuasive and finely wrought argument challenges film and media scholars to develop new ways of thinking about the relationships among movement, stasis and mediated vision. - Allan Cameron, Screen 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, Beckmans 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 In this inventive exploration of the car crash in the history of film, critical theory, and art practice, Karen Beckman invokes the crash as a way of working through questions of mobility and stasis, security and transgression, medium hybridity, and technology, spectatorship, and the body in new and exciting ways. Moving fluidly from the comic and reflexive moments of the car crash in early and silent cinema, to concerns with accident and trauma, especially in non-theatrical films from the 1930s to the 1960s, and then to more contemporary work, Beckman exhibits an impressive range of historical, artistic, and theoretical interests. She shows how the trope of the car crash weaves its way into the cultural life of the twentieth century in ways that parallel Wolfgang Schivelbuschs pioneering work on the train accident in the nineteenth century.D. N. Rodowick, Professor of Visual and Environmental Studies, Harvard University Crash: Cinema and the Politics of Speed and Stasis is exhaustively researched and argued with clarity. Blending cinema and media studies with a hard-edged critique of the capitalist machine, this book is both entertaining and enlightening. -- Simon Sellars * Media International Australia * Crash represents a major intervention in the field of film and media studies, and provides a model of thoughtful, nuanced scholarship[Beckmans] persuasive and finely wrought argu

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

Acknowledgments ix Introduction 1 1. "Jerky Nearness": Spectatorship, Mobility, and Collision in Early Cinema 25 2. Car Wreckers and Home Lovers: The Automobile in Silent Slapstick 55 3. Doing Death Over: Industrial-Safety Films, Accidental-Motion Studies, and the Involuntary Crash Test Dummy 105 4. Disaster Time, the Kennedy Assassination, and Andy Warhol's Since (1966/2002) 137 5. Film Falls Apart: Crash, Semen, and Pop 161 6. Crash Aesthetics: Amores perros and the Dream of Cinematic Mobility 179 7. The Afterlife of Weekend: Or, The University Found on a Scrapheap 205 Notes 235 Bibliography 275 Index 289