By Iain Sinclair
During this ebook, which incorporates a new interview with Ballard who wrote the publication on which the movie used to be established, Sinclair explores the temporal loop which connects movie and novel, and asks questions reminiscent of to what quantity is Crash a premonition of a few of the extra striking media occasions of contemporary instances. within the BFI glossy CLASSICS sequence.
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Extra info for Crash (BFI Modern Classics)
Make it ragged and dirty,' Vaughan instructs the technician when he receives his 'wound tattoo'. He wants to turn the skin of his body into a map, a Blakean prophecy. ' responds the tattooist 'with a hint of sarcasm'. Spader and Unger, sleepwalkers in a preordained narrative, become mantic. Their peculiar obsessions, re-enactments, rehearsals, are fated. They trap the shadows of future tragedies. The story which knows (and acknowledges) its own end is the paradigm of good art for Ballard. No vulgar shocks, no detours from the bloody diagram tattooed across the abdomen.
They passed each other, without pausing to initiate a conversation, on the corner of Frith Street and Soho Square. Petit spoke of this non-meeting in terms of body language: how we manage a repertoire of shrugs, nods and halfwaves, to signal the fact that the moment has passed for conversation. Old acquaintances are now, definitively, in different scripts. ' Fiction has always had a problem with coincidences, over-contrived dramas, lost letters; but life is not so fastidious. Start your investigation anywhere; novel in one hand, phone in the other, and within three calls you'll meet the person who has been there, done it all, before you turned the first page.
Crash is a series of variations on Wilhelm Reich's recipe for cancer. Spader impersonates Ballard but he is really an avatar of Cronenberg, the blandest off-print in a lineage that goes back through the spectacularly wasted Christopher Walken (the urban vampire's vampire) to James Woods. 'Even though we don't look alike,' Cronenberg told Chris Rodley, 'Jimmy Wood's presence (in Videodrome) on the screen began to feel like a projection of me. ' 58 I SFI MODERN CLASSICS Cronenberg likes these alter egos, his vulpine wasters: stand-ins who, within the permissive register of cinema, can enact his darkest fantasies.