Film falls apart: Crash, semen, and pop

Grey Room

Volumn , Issue 12, 2003, Pages 95-115

  Beckman, Karen ^a  

^a NONE

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[No Author keywords available]

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EID: 67149128341     PISSN: 15263819     EISSN: None     Source Type: Journal    
DOI: 10.1162/152638103322446488     Document Type: Review

References (41)

1. Hal Foster, "Death in America," in Andy Warhol, ed. Annette Michelson (Cambridge: MIT Press, 2001), 76
2. Quoted in Foster, 76
3. Jean Baudrillard, "Ballard's Crash," Science-Fiction Studies 18 (1991): 316
4. See Jennifer Doyle, Jonathan Flatley, and José Esteban Muñoz, eds., Pop Out: Queer Warhol (Durham: Duke University Press, 1996)
5. Douglas Crimp, "Face Value," in About Face: Andy Warhol Portraits (Connecticut: Wadsworth Atheneum, 1999), 110-125
6. and Douglas Crimp, "Getting the Warhol We Deserve," Social Text 59, 17, no. 2 (Summer 1999): 49-66
7. and Juan A. Suárez, Bike Boys, Drag Queens, and Superstars: Avant-Garde, Mass Culture, and Gay Identities in the 1960s Underground Cinema (Bloomington: Indiana University Press, 1996), 214-259
8. For some of the more interesting critiques of Crash's sexual promises, see Vivian Sobchack, "Baudrillard's Obscenity," Science-Fiction Studies 18 (1991): 327-329
9. as well as her later essay on the same subject, "Beating the Meat/Surviving the Text, or How to Get Out of This Century Alive," in The Visible Woman: Imaging Technologies, Gender and Science, eds. Paula A. Treichler, Lisa Cartwright, and Constance Penley (New York: New York University Press, 1998): 310-320
10. Barbara Creed, "The Crash Debate: Anal Wounds, Metallic Kisses," Screen 39, no. 2 (Summer 1998): 175-179
11. and Ray Grundmann, "Plight of the Crash Fest Mummies: David Cronenberg's Crash," Cinéaste 22, no. 4 (1997): 24-27
12. J.G. Ballard, Crash (New York: Picador, 1973), 91
13. Kathy Acker, Bodies of Work: Essays (London and New York: Serpent's Tail, 1997), 175. As Linda Williams has shown, the flaccid penis played an important role for porn star Candida Royalle's production company, Femme, which used female directors to make new pornography for women. In a film called Urban Heat, for example, the male character's penis remains soft for the first half of an elevator sex scene
14. Williams comments: "The softness of the penis simply permits the rest of the body to perform.... We do not sense that the sole goal of the number is for the male organ to perform." Linda Williams, Hard Core: Power, Pleasure, and the "Frenzy of the Visible" (Berkeley: University of California Press, 1989), 252-253
15. Luce Irigaray, "Sexual Difference," in An Ethics of Sexual Difference (Ithaca: Cornell University Press, 1984), 15
16. Elizabeth Grosz, Volatile Bodies: Toward a Corporeal Feminism (Bloomington: Indiana University Press, 1994), 199
17. Susan Rubin Suleiman, "Mothers and the Avant-Garde: A Case of Mistaken Identity?" Avant-Garde 4 (1990): 135-146
18. See also Susan Rubin Suleiman, Subversive Intent: Gender, Politics, and the Avant-Garde (Cambridge: Harvard University Press, 1990)
19. Wayne Koestenbaum, Andy Warhol (New York: Viking, 2001), 134
20. Jonathan Crary, "J.G. Ballard and the Promiscuity of Forms," Zone 1/2 (1986): 160
21. J.G. Ballard, "Fiction of Every Kind," A User's Guide to the Millennium (New York: Picador, 1996), 207
22. Ballard, "Fiction of Every Kind," 207
23. Ballard, "Fiction of Every Kind," 205
24. Andy Warhol, The Philosophy of Andy Warhol (New York: Harcourt Brace Jovanovich, 1975), 8
25. Acker, 175
26. Smith writes: "Against a Freudian hydraulics of sexuality, which seems to necessitate that Crash be interpreted, favorably or otherwise, through the violence of vaginal and anal penetration and its reproductive (or 'creative') imperatives, I am interested in the perversion of touching as fore-pleasure." Marq Smith, "Wound Envy: Touching Cronenberg's Crash," Screen 40, no. 2 (Summer 1999): 193-202
27. Paolo Cherchi Usai, The Death of Cinema: History, Cultural Memory and the Digital Dark Age (London: British Film Industry, 2001), 7
28. Angell, 16
29. Walter Benjamin, "The Task of the Translator," Illuminations, ed. Hannah Arendt (New York: Schocken, 1968), 81. Benjamin describes Pannwitz's work as "the best comment on the theory of translation that has been published in Germany" (80)
30. For examples of this approach to the novel's interest in visual technology, one might look at Aidan Day, "Ballard and Baudrillard: Close Reading Crash," English 49 (Autumn 2000): 277-293
31. Jeffrey T. Schnapp's essay, "Crash (Speed as Engine of Individuation)," Modernism/Modernity 6, no. 1 (1999): 1-49, only mentions Ballard's novel in passing, but it explores brilliantly the relationship between high-speed automobiles and film
32. For a discussion of Godard's movement between cinema and painting, see Angela Dalla Vacche, Cinema and Painting: How Art Is Used in Film (Austin: University of Texas Press, 1996), 107-134
33. For a discussion of Dine, see Michael Kirkby, Happenings (New York: Dutton, 1965), 184-199
34. See also Carrie Lambert, "Documentary Dialectics: Performance Lost and Found," Visual Resources 16 (2000): 275-285
35. For drawing on black, see McLaren, Hen Hop (1942)
36. See also Len Lye, Color Box (1935)
37. For a full discussion of the development of these techniques, see P. Adams Sitney, Visionary Film: The American Avant-Garde (New York: Oxford University Press, 1974), 266-312
38. For a technical discussion of the paintings, see Marco Livingstone, "Do It Yourself: Notes on Warhol's Techniques," in Andy Warhol: A Retrospective, ed. Kynaston McShine (Boston: Bullfinch/Little Brown and Company/Museum of Modern Art, 1989): 63-78
39. Warhol tells Benjamin Buchloh, "When I showed them in Paris the hot lights made them melt again ... it's very weird when they drip down. They look like real drippy paintings and they never stopped dripping because the lights were so hot. Then you can understand why these holy pictures cry all the time." Benjamin H.D. Buchloh, "Three Conversations in 1985: Claes Oldenburg, Andy Warhol, Robert Morris," October 70 (Fall 1994): 43
40. Usai, Death of Cinema, 12-13
41. Irigaray, 9