vụ tai nạn làm cho bản thân cảm thấy, cho, nếu bất cứ điều gì, nó đánh thức từ giấc ngủ thôi miên và đánh thức kích thích, lôi kéo gây sốc vật lý trong nỗ lực để vượt qua lá chắn bảo vệ của da, dưới da của chúng tôi như vậy để nói chuyện. | Eye-Hunger Physical Pleasure and Non-Narrative Cinema crash makes itself felt for if anything it wakes from hypnotic slumber and awakens stimuli entices physical shock in its attempt to break through the protection shield of the skin get under our skin so to speak. This is why spectating the crash becomes the paradigm case for Schaulust and its concomitant curiosity the German Neugier - the lust or appetite Lust to watch schauen and the craving Gier for novelty for the new neu - terms in which inhere semantically the very physical pleasures of looking. Schaulust celebrates its triumphs here Benjamin 1991 572 my translation because it remains irreducible to a merely psychological appropriation. Although flight appears to be the physical other of fright or trauma what the spectacle of the crash real staged or simulated reveals is the physiological underpinnings of both. At the junction of movement and vision is not just the new technology of the motion picture but also the materiality of the city with its breathless traffic railroads cars and crowds and the physical effects this environment has on its city strollers train passengers and movie-goers alike. At this crossroads are also accidents which is why Wolfgang Schivelbusch sees the ever-present fear of a potential disaster linked with the invention of the railways 1986 130 as a mode of transportation which was perceived as inhumanly fast. This fear is just as tangible in the crowded metropolis where as Benjamin finds moving through traffic involves the individual in a series of shocks and collisions 1983 132 . The effect on the man in the crowd is that at dangerous crossings nervous impulses flow through him in rapid succession Benjamin 1983 132 just as nervous energies befall the traveller in the annihilation of space and time Schivelbusch 1986 33 as the train hurries along the rails like a fierce storm sweeping all before it Zola 1977 58 . What is at stake here is not only speed and motion that crashes are the
