Crash: Cinema and the Politics of Speed and Stasis

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Karen Redrobe

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Crash: Cinema and the Politics of Speed and Stasis

Sign In Forgot password? Don't have an account? Sign in via your Institution Sign in. Purchase Subscription prices and ordering Short-term Access To purchase short term access, please sign in to your Oxford Academic account above. Together, these essays help explain how writers and photographers—past and present—have served as powerful creative resources for each other. Account Options Sign in. Top Charts.

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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. Reviews Review Policy. Published on. Flowing text, Original pages. Best For.

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With the help of mirrors, trap doors, elevators, photographs, and film, women vanish and return in increasingly spectacular ways throughout the nineteenth and twentieth centuries. Karen Beckman tracks the proliferation of this elusive figure, the vanishing woman, from her genesis in Victorian stage magic through her development in conjunction with photography and film. Beckman reveals how these new visual technologies projected their anxieties about insubstantiality and reproducibility onto the female body, producing an image of "woman" as utterly unstable and constantly prone to disappearance.

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