The scene where James Spader eats that Asian chicks pussy in a storage closet made me so horny bruh
This whole movie was tough to watch as an incel. Thankfully I got laid a couple years later.
I read the book, and felt that it was more of a critique on car culture instead: >characters constantly stuck in traffic >nobody really interested in how a car works, just how it "feels" and looks, do zero maintenance >crashes result in either being horribly maimed or dead
Would not recommend the book
like many writers of that era he was in part reacting to the soul crushing suffocation and sterility of isolating suburbification and cars are instrumental to that. he was fascinated with a medical textbook Crash Injuries and the connetions between for instance comparing different types of injuries based on different model year Buicks and the recontextualization of your arbitrarily unique face made anew through perverse steel maiming- the inhuman neutral abstraction of truth and data. american sex icons like James Dean and Jane Mansfield as symbolic of their culture and youth mutilated in a deadly high speed crash, the lurid morbidity - similar to his fascination with the JFK assassination Warren Commission report and the pornographic political intersection of forensic trauma. How sex is no longer a new frontier, all mental and social territories of possibilities and constraints have been established and homogenous and even the 60s revolution simply a different grid of determinants, so Crash is meant to be a poke in the eye transgressive. the industrial revolution violently invading the corporeal and interpersonal turn bio-robotical organisms. He's constructing an open ended extreme hypothesis in the guise of an autopsy, exploratory, investigative. He's interested in dismantling the assumptions and rationalizations of convention necessary to function in a society and is post-modern in this sense though not synonymous with leftism, he questions that too particularly Baader-Meinhof at the time. Moreso in his adoption of assemblage of case histories over one objective perspective - in The Atrocity Exhibit the protag wants to assassinate Kennedy again but in a way that makes sense and try to start WWIII and that thread of idealism runs throughout his work. He's offering a kit for the reader, the book as instruction manual to create your own meaning, a morality in progress.
>The social dimension isn't really what I'm interested in. There's a constant struggle on a minute-by-minute basis throughout our lives every day; one needs to dismantle that smothering conventionalized reality that wraps itself around us. There's a conspiracy, in which we play our willing part, just to stabilize the world we inhabit. One needs to dismantle that smothering we call everyday reality and car crashes or serious illness do have that sort of liberating trauma (big Cronenberg here). >I mean people talk nostalgically about WWII not because moral standard were more relaxed or people lived more authentically-not for those reasons, but simply because codeified reality from which we can never escape is suddenly dismantled, and there's an element of 'magic' invovled.. >I'm always struck by the enormous sort of magic and poetry one feels when looking at a junkyard filled with old washing machines, or wrecked cars, or old ships rotting in a harbor. An enormous sort of tragic poetry, mystery and magic surround these objects. You 'need' that violent dislocation which time itself brings. I don't have any sentimental delusion about violence; I certinly don't glorify it in that way like the Nazis did. The fascination with power and brute force, the stamp of thousands of steel-shod boots-all that I detest. That is glamorizing the lowest human motives conceivable; building a society on the level of the street-corner brawl.
re: Crash Injuries medical text >..one's imagination is touched by these people who, if at an enormous price, have nonetheless broken through the skin of reality convention around us...and who have in a sense become mythological beings in a way only attainable through brutal violent acts.
>"For me the hydrogen bomb was a symbol of absolute 'freedom'." The irony is that moral freedom can only be exercised within the bounds of humanity's own concrete world, where we all become victims of each other's fantasies. Where else is there to go? The past is a biological swamp, the future is a sandy desert-the present a concrete playpen akin to the Fallen World in Biblical symbolism where men and women toil and die but in Ballard's modern version, it is the place where they act out their psychosexual dramas and die. In Crash the landscape of airports and motorways of quintessential West London are dominated by advertising and the automobile. The narrator suffers a car accident and as a result experiences an overhwelming desire to explore the psychosexual significance of the event following the logic of it's apocalyptic annihilationism to it's grisly end. >The sexual explicitness and the long descriptions of injuries and mutilations all seem divorced from "normal" human feelings, treated equitability without qualm. More medical than pornographic, conveying a strange union of flesh and machine: >"I felt the warm vinyl of the seat beside me and then stroked the damp aisle of Helen's perineum. Her hand pressed against my right testicle. The plastic laminates around me, the colour of washed anthracite, were the same tones as her pubic hairs parted at the vestibule of her vulva. The passenger compartment enclosed us like a machine generating from our sexual act an homunculus of blood, semen and engine coolant"
>The social dimension isn't really what I'm interested in. There's a constant struggle on a minute-by-minute basis throughout our lives every day; one needs to dismantle that smothering conventionalized reality that wraps itself around us. There's a conspiracy, in which we play our willing part, just to stabilize the world we inhabit. One needs to dismantle that smothering we call everyday reality and car crashes or serious illness do have that sort of liberating trauma (big Cronenberg here). >I mean people talk nostalgically about WWII not because moral standard were more relaxed or people lived more authentically-not for those reasons, but simply because codeified reality from which we can never escape is suddenly dismantled, and there's an element of 'magic' invovled.. >I'm always struck by the enormous sort of magic and poetry one feels when looking at a junkyard filled with old washing machines, or wrecked cars, or old ships rotting in a harbor. An enormous sort of tragic poetry, mystery and magic surround these objects. You 'need' that violent dislocation which time itself brings. I don't have any sentimental delusion about violence; I certinly don't glorify it in that way like the Nazis did. The fascination with power and brute force, the stamp of thousands of steel-shod boots-all that I detest. That is glamorizing the lowest human motives conceivable; building a society on the level of the street-corner brawl.
re: Crash Injuries medical text >..one's imagination is touched by these people who, if at an enormous price, have nonetheless broken through the skin of reality convention around us...and who have in a sense become mythological beings in a way only attainable through brutal violent acts.
>"For me the hydrogen bomb was a symbol of absolute 'freedom'." The irony is that moral freedom can only be exercised within the bounds of humanity's own concrete world, where we all become victims of each other's fantasies. Where else is there to go? The past is a biological swamp, the future is a sandy desert-the present a concrete playpen akin to the Fallen World in Biblical symbolism where men and women toil and die but in Ballard's modern version, it is the place where they act out their psychosexual dramas and die. In Crash the landscape of airports and motorways of quintessential West London are dominated by advertising and the automobile. The narrator suffers a car accident and as a result experiences an overhwelming desire to explore the psychosexual significance of the event following the logic of it's apocalyptic annihilationism to it's grisly end. >The sexual explicitness and the long descriptions of injuries and mutilations all seem divorced from "normal" human feelings, treated equitability without qualm. More medical than pornographic, conveying a strange union of flesh and machine: >"I felt the warm vinyl of the seat beside me and then stroked the damp aisle of Helen's perineum. Her hand pressed against my right testicle. The plastic laminates around me, the colour of washed anthracite, were the same tones as her pubic hairs parted at the vestibule of her vulva. The passenger compartment enclosed us like a machine generating from our sexual act an homunculus of blood, semen and engine coolant"
I feel like a lot of David Cronenbergs filmography is some (admittedly, visually neat) fetish shit. I love Videodrome but watching ExIstenZ or Crimes of the Future you can't tell me he's not getting off on this.
he's novel Consumed is about a hannibal lecter type intellectual cannibal and the naive horny millenial photojournalist that wants to frick him so. I don't think it's as much a fetish as fascination because all these kinds of new tech are part of our ancient drives now whether we like it or not. Great read, fans of his movies would enjoy the typical tech-sex-self junctions
I wanted to like Crimes of the Future (recent one) but the premise and therefore character motives were just so inscrutable to me. There was basically a throwaway line about how people can't feel pain, but how does that make surgery the new sex/performance art? It's like I was watching a foreign film with a cultural barrier.
>I wanted to like Crimes of the Future (recent one) but the premise and therefore character motives were just so inscrutable to me
read this review
https://reverseshot.org/reviews/entry/2940/crimes_future
this one will probably go over your head but it's also great
https://letterboxd.com/pzng97/film/crimes-of-the-future-2022/
Aside from the unnecessary feminist lens of the first link and the word salad of the second, what I'm getting is that it was about reclaiming bodily autonomy in the face of the hostile environment the body is being forced to adjust to. And that bodily control has become so scarce that these overt displays of it have become arousing? Am I close? I wanted to be insulted by your "over your head" remark but, truth be told, I'm just not as sharp as I used to be. Probably due in no small part to environmental factors like malnutrition and microplastics. So maybe I'm an example of the movie's commentary, yeah?
yeah I think you are pretty close, I just add in more media theory and politics to my personal reading like from the reverseshot article and is heavily informed by the Cronenberg's larger body of work and it's trajectory.
2nd one was meant to be more of an aspirational challenge than indictment, it absolutely is jargon heavy grad school thesis level criticism and took me a few reads too but it made me think and get more out of the film as that guy often does.
>2nd one was meant to be more of an aspirational challenge than indictment, it absolutely is jargon heavy
Thank you, sometimes my pretentiousness radar fails me and has me wondering to what degree I'm at fault for not catching on better.
Thanks for the interesting and enlightening exchange, anon. Maybe I'll give CotF another go with these ideas in mind.
4 months ago
Anonymous
Cheers and do check out any older Cronenberg's you've missed as well! highly relevant to so many of them from his very earliest like Rabid and Shivers to Videodrome, ExistenZ, Dead Ringers, Cosmopolis (Don Delilo adaptation, also wrote White Noise), and of course Crash
JG Ballard is pretty slick in that all his stories' metaphors refuse to sit nicely in a ribboned box. WTF is the deeper meaning of people turned on by car crashes? Frick knows, and that's why its good. Very clever. The metaphor, the deper meaning is just out of your grasp, like you woke up from the dream before you figured out what it was about
It's the God awful one about the car crash fetish club. Whoever made the movie knew it was utter dreck because there's about 9 love scenes or so and they are space out so right about the point you are getting so bored you are going to leave the theatre/turn off the tape, some of the characters start having sex again.
It's a message movie without the message. As shitty as watching a horror with no horror in it. Full of shallow characters but without any money shots. The only part of Crash that felt like a movie was the reenactment of the James Dean crash. The rest of it is a whole lot of wank and why bother? What have we learned as an audience after this supposed film? How to craft fake car crashes? Ok, but they expect you to pay money for this snore fest and we are not in art school. Anyone who claims they were entertained by this movie is a liar.
I remember watching a scene of this as a kid where the guy is fricking the poster girl and the channel said it was called "Crash" which was a simple enough title so I never bothered to look it up but then the other Crash came out and couldn't find a thing about the other one so I began to think I had imagined the whole thing. Thank you OP your bait has given me closure.
Coomer kino
Anyone ever see High Rise by the same author? It's a kino book but the movie... I hear things. Bad things.
I'm currently being filtered by atrocity exhibition
the movie is a suffocating slog that will give you a headache - like a lot of Ben Wheatley unfortunately
it is a pretentious movie a bit
White people have degenerate sexuality, nothing new here
>hollywood movie
>white people
>mfw will never nose-, jaw-, and real estatemax on palestine like this aryan israelite does
Read about afrikaner converts, much to think about...
>So this is the "deep commentary on racial tensions" everyone talks about
thats a different movie with the same title
?
The scene where James Spader fricks the leg both amused and disgusted me.
The scene where James Spader eats that Asian chicks pussy in a storage closet made me so horny bruh
This whole movie was tough to watch as an incel. Thankfully I got laid a couple years later.
Rosana Arquette once played Sarah Gadon's mother
You are driving me insane.
I read the book, and felt that it was more of a critique on car culture instead:
>characters constantly stuck in traffic
>nobody really interested in how a car works, just how it "feels" and looks, do zero maintenance
>crashes result in either being horribly maimed or dead
Would not recommend the book
>"car culture"
Ballard is playing with much bigger concepts bro, he's great. do you even crit-theory?
>much bigger concepts bro
Tell us what they are anon
like many writers of that era he was in part reacting to the soul crushing suffocation and sterility of isolating suburbification and cars are instrumental to that. he was fascinated with a medical textbook Crash Injuries and the connetions between for instance comparing different types of injuries based on different model year Buicks and the recontextualization of your arbitrarily unique face made anew through perverse steel maiming- the inhuman neutral abstraction of truth and data. american sex icons like James Dean and Jane Mansfield as symbolic of their culture and youth mutilated in a deadly high speed crash, the lurid morbidity - similar to his fascination with the JFK assassination Warren Commission report and the pornographic political intersection of forensic trauma. How sex is no longer a new frontier, all mental and social territories of possibilities and constraints have been established and homogenous and even the 60s revolution simply a different grid of determinants, so Crash is meant to be a poke in the eye transgressive. the industrial revolution violently invading the corporeal and interpersonal turn bio-robotical organisms. He's constructing an open ended extreme hypothesis in the guise of an autopsy, exploratory, investigative. He's interested in dismantling the assumptions and rationalizations of convention necessary to function in a society and is post-modern in this sense though not synonymous with leftism, he questions that too particularly Baader-Meinhof at the time. Moreso in his adoption of assemblage of case histories over one objective perspective - in The Atrocity Exhibit the protag wants to assassinate Kennedy again but in a way that makes sense and try to start WWIII and that thread of idealism runs throughout his work. He's offering a kit for the reader, the book as instruction manual to create your own meaning, a morality in progress.
Ballard was
>The social dimension isn't really what I'm interested in. There's a constant struggle on a minute-by-minute basis throughout our lives every day; one needs to dismantle that smothering conventionalized reality that wraps itself around us. There's a conspiracy, in which we play our willing part, just to stabilize the world we inhabit. One needs to dismantle that smothering we call everyday reality and car crashes or serious illness do have that sort of liberating trauma (big Cronenberg here).
>I mean people talk nostalgically about WWII not because moral standard were more relaxed or people lived more authentically-not for those reasons, but simply because codeified reality from which we can never escape is suddenly dismantled, and there's an element of 'magic' invovled..
>I'm always struck by the enormous sort of magic and poetry one feels when looking at a junkyard filled with old washing machines, or wrecked cars, or old ships rotting in a harbor. An enormous sort of tragic poetry, mystery and magic surround these objects. You 'need' that violent dislocation which time itself brings. I don't have any sentimental delusion about violence; I certinly don't glorify it in that way like the Nazis did. The fascination with power and brute force, the stamp of thousands of steel-shod boots-all that I detest. That is glamorizing the lowest human motives conceivable; building a society on the level of the street-corner brawl.
re: Crash Injuries medical text
>..one's imagination is touched by these people who, if at an enormous price, have nonetheless broken through the skin of reality convention around us...and who have in a sense become mythological beings in a way only attainable through brutal violent acts.
>"For me the hydrogen bomb was a symbol of absolute 'freedom'." The irony is that moral freedom can only be exercised within the bounds of humanity's own concrete world, where we all become victims of each other's fantasies. Where else is there to go? The past is a biological swamp, the future is a sandy desert-the present a concrete playpen akin to the Fallen World in Biblical symbolism where men and women toil and die but in Ballard's modern version, it is the place where they act out their psychosexual dramas and die. In Crash the landscape of airports and motorways of quintessential West London are dominated by advertising and the automobile. The narrator suffers a car accident and as a result experiences an overhwelming desire to explore the psychosexual significance of the event following the logic of it's apocalyptic annihilationism to it's grisly end.
>The sexual explicitness and the long descriptions of injuries and mutilations all seem divorced from "normal" human feelings, treated equitability without qualm. More medical than pornographic, conveying a strange union of flesh and machine:
>"I felt the warm vinyl of the seat beside me and then stroked the damp aisle of Helen's perineum. Her hand pressed against my right testicle. The plastic laminates around me, the colour of washed anthracite, were the same tones as her pubic hairs parted at the vestibule of her vulva. The passenger compartment enclosed us like a machine generating from our sexual act an homunculus of blood, semen and engine coolant"
you can read much, much more in this book
shame I wasted all this effort in a shitty race bait thread but I'll save it I guess
damn bro, can't even hit me with (You) to call me a pretentious fart sniffer for all that?
The moral of the story is that sex and woman are le bad.
I hope you're trolling instrad of having mistakenly asumed that Crash (96) is Crash (04)
That’s the bit
Great soundtrack. Any bands that sound like it? Sort of like dark, dissonant post-rock.
Some of Glenn branca's stuff is kinda similar
I feel like a lot of David Cronenbergs filmography is some (admittedly, visually neat) fetish shit. I love Videodrome but watching ExIstenZ or Crimes of the Future you can't tell me he's not getting off on this.
>ExIstenZ
such a crazy movie
he's novel Consumed is about a hannibal lecter type intellectual cannibal and the naive horny millenial photojournalist that wants to frick him so. I don't think it's as much a fetish as fascination because all these kinds of new tech are part of our ancient drives now whether we like it or not. Great read, fans of his movies would enjoy the typical tech-sex-self junctions
I wanted to like Crimes of the Future (recent one) but the premise and therefore character motives were just so inscrutable to me. There was basically a throwaway line about how people can't feel pain, but how does that make surgery the new sex/performance art? It's like I was watching a foreign film with a cultural barrier.
>I wanted to like Crimes of the Future (recent one) but the premise and therefore character motives were just so inscrutable to me
read this review
https://reverseshot.org/reviews/entry/2940/crimes_future
this one will probably go over your head but it's also great
https://letterboxd.com/pzng97/film/crimes-of-the-future-2022/
Aside from the unnecessary feminist lens of the first link and the word salad of the second, what I'm getting is that it was about reclaiming bodily autonomy in the face of the hostile environment the body is being forced to adjust to. And that bodily control has become so scarce that these overt displays of it have become arousing? Am I close? I wanted to be insulted by your "over your head" remark but, truth be told, I'm just not as sharp as I used to be. Probably due in no small part to environmental factors like malnutrition and microplastics. So maybe I'm an example of the movie's commentary, yeah?
yeah I think you are pretty close, I just add in more media theory and politics to my personal reading like from the reverseshot article and is heavily informed by the Cronenberg's larger body of work and it's trajectory.
2nd one was meant to be more of an aspirational challenge than indictment, it absolutely is jargon heavy grad school thesis level criticism and took me a few reads too but it made me think and get more out of the film as that guy often does.
>2nd one was meant to be more of an aspirational challenge than indictment, it absolutely is jargon heavy
Thank you, sometimes my pretentiousness radar fails me and has me wondering to what degree I'm at fault for not catching on better.
Thanks for the interesting and enlightening exchange, anon. Maybe I'll give CotF another go with these ideas in mind.
Cheers and do check out any older Cronenberg's you've missed as well! highly relevant to so many of them from his very earliest like Rabid and Shivers to Videodrome, ExistenZ, Dead Ringers, Cosmopolis (Don Delilo adaptation, also wrote White Noise), and of course Crash
Cronenberg's best films are the ones with Sarah Gadon. She's so talented that he cast her in 3 consecutive movies.
Nope. It's the bond between man and machine. There is nothing like it but only men can understand it. It's not for women, sois and gays.
>white people want to frick cars lmao
directed by and written by and produced by
Ahh yes, ((white people))
JG Ballard is pretty slick in that all his stories' metaphors refuse to sit nicely in a ribboned box. WTF is the deeper meaning of people turned on by car crashes? Frick knows, and that's why its good. Very clever. The metaphor, the deper meaning is just out of your grasp, like you woke up from the dream before you figured out what it was about
Maybe its literalisation / realistaion of aesthetics;
Art = action / thrill + sex + death
The figurative is inverted to the literal in a gross, big = best, US style, porn, techno crunch.
You accidentally watched the good Crash movie, consider yourself lucky.
It's the God awful one about the car crash fetish club. Whoever made the movie knew it was utter dreck because there's about 9 love scenes or so and they are space out so right about the point you are getting so bored you are going to leave the theatre/turn off the tape, some of the characters start having sex again.
pleb moron, stick to capeshit
It's a message movie without the message. As shitty as watching a horror with no horror in it. Full of shallow characters but without any money shots. The only part of Crash that felt like a movie was the reenactment of the James Dean crash. The rest of it is a whole lot of wank and why bother? What have we learned as an audience after this supposed film? How to craft fake car crashes? Ok, but they expect you to pay money for this snore fest and we are not in art school. Anyone who claims they were entertained by this movie is a liar.
there is more to life than pornography and "entertainment" you pleb moron
I remember watching a scene of this as a kid where the guy is fricking the poster girl and the channel said it was called "Crash" which was a simple enough title so I never bothered to look it up but then the other Crash came out and couldn't find a thing about the other one so I began to think I had imagined the whole thing. Thank you OP your bait has given me closure.
OP is thinking of the other Crash movie
this has nothing to do with racial tension