Crash Cultures
$35.50
| Title | Range | Discount |
|---|---|---|
| Trade Discount | 5 + | 25% |
- Description
- Additional information
Description
Since Diana’s car crash in August 1997, media interest in the crash as an event needing explanation has proliferated. A glut of documentaries on television have investigated the social and scientific history of our responses to the car crash, as well as showing the personal impact of the crash on individual lives.
In trying to give meaning to one celebrity crash, the more general significance of the car crash, its challenge to rational control or explanation, its disregard for the subject and its will, became the focus for attention. Coincidentally, the two most newsworthy films of 1997 were David Cronenberg’s Crash and James Cameron’s Titanic, both of which generated intense popular interest.
The principal purpose of this collection of essays is to subject texts, within which crashes figure, to well-defined cultural study. The themes that emerge from this collection, which is truly experimental in attempting to draw together the resources for a cultural study of events, are many and varied. Moreover, they vary in format, in order to bring as many modes of address as possible to bear on the crashes that catastrophically and fantastically punctuate the fabric of everyday life.
In trying to give meaning to one celebrity crash, the more general significance of the car crash, its challenge to rational control or explanation, its disregard for the subject and its will, became the focus for attention. Coincidentally, the two most newsworthy films of 1997 were David Cronenberg’s Crash and James Cameron’s Titanic, both of which generated intense popular interest.
The principal purpose of this collection of essays is to subject texts, within which crashes figure, to well-defined cultural study. The themes that emerge from this collection, which is truly experimental in attempting to draw together the resources for a cultural study of events, are many and varied. Moreover, they vary in format, in order to bring as many modes of address as possible to bear on the crashes that catastrophically and fantastically punctuate the fabric of everyday life.
Contributors
1. Introduction: Modernity, Mediation and the Material
Jane Arthurs and Iain Grant2. ‘Will it Smash?’: Modernity and the Fear of Falling
William Greenslade3. How it Feels
Shah4. Eye-Hunger: Physical Pleasure and Non-Narrative Cinema1. Introduction: Modernity, Mediation and the Material
Jane Arthurs and Iain Grant2. ‘Will it Smash?’: Modernity and the Fear of Falling
William Greenslade3. How it Feels
Karin Littau5. Crashed-Out: Laundry Vans, Photographs and a Question of Consciousness
Ben Highmore6. Crash: Beyond the Boundaries of Sense
Jane Arthurs7. Sexcrash
Fred Botting and Scott Wilson
8. Cyborgian Subjects and the Auto-Destruction of Metaphor
David Roden9. Spirit in Crashes: Animist Machines and the Power of Number
Iain Grant10. Racing Fatalities: White Highway, Black Wreckage
Harjit Kaur Khaira and Gerry Carlin11. Negative Dialectics of the Desert Crash in The English Patient
Anne Beezer12. The Iconic Body and the Crash
Jean Grimshaw13. Of Hallowed Spacings: Diana’s Crash as Heterotopia
Nils Lindahl Elliot and Carmen Alfonso14. Fuel, Metal, Air: The Appearances and Disappearances of Amelia Earhart
Michelle Henning and Rebecca Goddard
Additional information
| Dimensions | 1 × 7 × 9 in |
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