http://akademik.maltepe.edu.tr/~eyapicier/Ki%FEileraras%FD%20%DDleti%FEim/movieassignment_.pdf
http://www.imdb.com/list/4V4w02vTuqY/
https://www.google.com.au/search?q=books+on+film+communication&ie=utf-8&oe=utf- 8&aq=t&rls=org.mozilla:en-GB:official&client=firefox-a&channel=fflb
A History of Communications library ebook
http://tcbdevito.blogspot.com.au/2005/09/films-and-interpersonal-communication.html
http://akademik.maltepe.edu.tr/~eyapicier/Ki%FEileraras%FD%20%DDleti%FEim/movieassignment_.pdf
http://deakin.libguides.com/index.php?msg=unpublished
http://scholar.google.com.au/schhp?hl=en
It seems that the people who made “Crash” either don’t understand that, don’t care, or both. The character in the film who comes closest to articulating a systemic analysis of white supremacy is Anthony, the carjacker played by the rapper Ludacris. But putting the critique in the mouth of such a morally unattractive character undermines any argument he makes, and his analysis is presented as pseudo-revolutionary blather to be brushed aside as we follow the filmmakers on the real subject of the film -- the psychology of the prejudice that infects us all.
That the characters in “Crash” -- white and non-white alike -- are complex and have a variety of flaws is not the problem; we don’t want films populated by one-dimensional caricatures, simplistically drawn to make a political point. Those kinds of political films rarely help us understand our personal or political struggles. But this film’s characters are drawn in ways that are ultimately reactionary.
Although the film follows a number of story lines, its politics are most clearly revealed in the interaction that two black women have with an openly racist white Los Angeles police officer played by Matt Dillon. During a bogus traffic stop, Dillon’s Officer Ryan sexually violates Christine, the upper-middle-class black woman played by Thandie Newton. But when fate later...