Crash
Cinema and the Politics of Speed and Stasis
1st Edition
Published on 3. August 2010
318 pages
978-0-8223-9276-7 (ISBN)
Description
Argues that representations of the car crash in film genres from slapstick comedies to industrial-safety movies parallels the collision of film and other media.
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Book
08/2010
Duke University Press
€34.00
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Person
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.
Content
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
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
