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Crash / Kilimanjaro Darkjazz Ensemble

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The Idea of the 'Fetish' in Ballard's 'Crash' - eBook

Geschichte Europa - and. Europa - Deutschland - I. Aufstieg und Fa Eine Analyse de Men become machine and machines become sexualized. It's fucked up, but it's not that far from the truth.

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The thematic fetish of Crash is not an invention. Since Crash is an adaptation, so it's always going to be compared to its origin material. And it would be almost impossible to do justice to J.

G Ballard's novel , which spends two hundred pages sexually describing wrecked cars and morbidly describing sex. So, the fucked up intimacy and voyeurism awkwardly translates to the screen. It's tough to understands what Ballard the character sees in this car crashes.

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The performances, except maybe for Elias Koteas ' pitch perfect interpretation of Vaughan, are clinical and weirdly playful. They're weird for the sake of being weird.

I don't believe a single J. G Ballard adaptation lived up to their original material's greatness.

Crash by J.G. Ballard

Ben Weathley's High-Rise was especially disappointing in that regard , completely whiffing on the religious metaphor that made the novel so fucking terrifying. Ballard seems adaptation-friendly because he tells straighforward stories, but his worlds are so loaded with ideas that it becomes easy to not to go through the motions without understanding what they mean.


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David Cronenberg did a remarkable job with a novel that seems unadaptable and translates some of the angst and the power of Ballard's book. He does just enough and offers little enough closure in order to make you want to continue the experience and understand better what the fuck you've just seen.

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