Cars And Culture

A succinct yet comprehensive history, Cars and Culture highlights the technical changes that altered the appearance and performance of automobiles, along with the myriad forces that have shaped the car's development.

Anyone who assumes that a car is simply a means to get from point A to point B, or who even thinks that they know what a car is, should read this book. Profoundly shaped by culture, the car gives rise to a wide range of emotions, from guilt about the environment in the UK to aboriginal concerns with car corpses, to struggles to keep the creatures alive with everything but the proper spare parts in West Africa. Cars and their landscapes prove central to human life from its most intimate to the widest sense of global crisis, and are capable of inspiring epic passions. From road rage in Western Europe to the struggles of cab driving in Africa to the emergence of Black identity in the US, this book examines the essential humanity of the car, which includes the jealousies, gender differences, fears and moralities that cars give rise to. Firmly grounded in detailed ethnographic and historical scholarship, this is the first book to provide an informed sense of cars as one of the most familiar and significant forms of material culture.

Fast Cars, Clean Bodies examines the crucial decade from Dien Bien Phu to the mid-1960s when France shifted rapidly from an agrarian, insular, and empire-oriented society to a decolonized, Americanized, and fully industrial one. In this analysis of a startling cultural transformation Kristin Ross finds the contradictions of the period embedded in its various commodities and cultural artifacts—automobiles, washing machines, women's magazines, film, popular fiction, even structuralism—as well as in the practices that shape, determine, and delimit their uses. In each of the book's four chapters, a central object of mythical image is refracted across a range of discursive and material spaces: social and private, textual and cinematic, national and international. The automobile, the new cult of cleanliness in the capital and the colonies, the waning of Sartre and de Beauvoir as the couple of national attention, and the emergence of reshaped, functionalist masculinities (revolutionary, corporate, and structural) become the key elements in this prehistory of postmodernism in France. Modernization ideology, Ross argues, offered the promise of limitless, even timeless, development. By situating the rise of "end of history" ideologies within the context of France's transition into mass culture and consumption, Ross returns the touted timelessness of modernization to history. She shows how the realist fiction and film of the period, as well as the work of social theorists such as Barthes, Lefebvre, and Morin who began at the time to conceptualize "everyday life," laid bare the disruptions and the social costs of events. And she argues that the logic of the racism prevalent in France today, focused on the figure of the immigrant worker, is itself the outcome of the French state's embrace of capitalist modernization ideology in the 1950s and 1960s.

The reach of the car today is almost universal, and its effect on landscapes, cityscapes, cultures indeed, on the very fabric of the modern world is profound. Cars have brought benefits to individuals in terms of mobility and expanded horizons, but the cost has been very high in terms of damage to the environment and the consumption of precious resources. Despite the growing belief that a Faustian price is now being paid for the freedom cars have bestowed on us, we are none the less manufacturing them in ever greater numbers. Autopia is the first book to explore the culture of the motor car in the widest possible sense. Featuring newly commissioned essays by writers, critics, historians, artists and film-makers, as well as reprinting key texts, it examines the effect of the car throughout the world, including the USA, Western and Eastern Europe, Japan, China, Cuba, India and South Africa. In this book the car is treated neither as a technological fetish object nor as an instrument of danger. Instead, it is examined as a hugely important determinant of 20th-century culture, neither wholly good nor an unmitigated disaster, and certainly endlessly fascinating. Contributors include Michael Bracewell, Ziauddin Sardar, Al Rees, Martin Pawley, Donald Richie and Peter Hamilton. Key texts by Marshall Berman, Jane Jacobs, Roland Barthes, Marc Auge and others."

With the powerful, rhythmic sounds of Aboriginal English and Kokatha language woven through the narrative, Mazin Grace is the inspirational story of a feisty girl who refuses to be told who she is, determined to uncover the truth for herself. Growing up on the Mission isn’t easy for clever Grace Oldman. When her classmates tease her for not having a father, she doesn’t know what to say. Pappa Neddy says her dad is the Lord God in Heaven, but that doesn’t help when the Mission kids call her a bastard. As Grace slowly pieces together clues that might lead to answers, she struggles to find a place in a community that rejects her for reasons she doesn’t understand. In this novel, author Dylan Coleman fictionalizes her mother’s childhood at the Koonibba Lutheran Mission in South Australia in the 1940s and 1950s.

Carjacked is an in-depth look at our obsession with cars. While the automobile's contribution to global warming and the effects of volatile gas prices are is widely known, the problems we face every day because of our cars are much more widespread and yet much less known -- from the surprising $14,000 per year that the average family pays each year for the vehicles it owns, to the increase in rates of obesity and asthma to which cars contribute, to the 40,000 deaths and 2.5 million crash injuries each and every year. Carjacked details the complex impact of the automobile on modern society and shows us how to develop a healthier, cheaper, and greener relationship with cars.

Scenes from the Mexican American lowrider life: a clothbound photobook documenting a vibrant LA car culture Known for her quiet portraits of American cultural movements, Los Angeles-based photographer Kristin Bedford's new work, Cruise Night, is an intimate and unstaged exploration of Los Angeles' Mexican American lowrider car culture. From 2014 to 2019 Bedford attended hundreds of lowrider cruise nights, car shows, quinceañeras, weddings and funerals. Her images offer a new visual narrative around the lowrider tradition and invite outsiders to question prevalent societal stereotypes surrounding this urban Mexican American culture. Bedford's photos explore the nuances of cars as mobile canvases and the legendary community that creates them. With bright color photography and a unique female vantage point, Cruise Nightis an original look at a prolific American movement set against the Los Angeles cityscape.

Anyone who assumes that a car is simply a means to get from point A to point B, or who even thinks that they know what a car is, should read this book. Profoundly shaped by culture, the car gives rise to a wide range of emotions, from guilt about the environment in the UK to aboriginal concerns with car corpses, to struggles to keep the creatures alive with everything but the proper spare parts in West Africa. Cars and their landscapes prove central to human life from its most intimate to the widest sense of global crisis, and are capable of inspiring epic passions. From road rage in Western Europe to the struggles of cab driving in Africa to the emergence of Black identity in the US, this book examines the essential humanity of the car, which includes the jealousies, gender differences, fears and moralities that cars give rise to. Firmly grounded in detailed ethnographic and historical scholarship, this is the first book to provide an informed sense of cars as one of the most familiar and significant forms of material culture.

Presents essays on all phases of the American automobile industry and the effect of its product on individual lives and the culture of the society.

Welcome to Cuba's automotive time capsule, filled with classic cars. The story of how Cuba came to be trapped in automotive time is a fascinating one. For decades, the island country had enjoyed healthy tourism trade and American outpost status, and by the 1950s it had the highest per capita automotive purchasing of any Latin American country - its middle class ensured an interesting variety of vehicles plying the roads. But when Cuba fell to communist rebels in 1959, so ended the inflow of new cars. Since then, trade embargo forced Cuba's car enthusiasts to develop a unique and insular culture, one marked by great creativity, such as: Keeping a car alive with no opportunity to acquire replacement parts; customizing a car with no access to aftermarket parts; drag racing with no drag strip. In many ways, Cuba is an automotive time warp, where the newest car is a 1959 Chevy or perhaps one of the Soviet Ladas. Cuba's Car Culture offers an inside look at a unique car culture, populated with cars that have been cut off from the world so long that they've morphed into something else in the spirit of automotive survival. Authors Tom Cotter and Bill Warner (founder of the Amelia Island Concours) take readers of Cuba's Car Culture on a whirlwind tour of all things automotive, beginning with Cuba's pre-Castro car and racing history and bringing us up to today's lost collector cars, street racing, and the challenges of keeping decades-old cars on the road. The book is illustrated throughout with rare historical photos as well as contemporary photos of Cuba's current car scene. For anyone who enjoys classic cars, from old Chevy Bel-Airs to Studebakers to Ford Fairlanes, a cruise around Cuba will make you feel like a kid in a candy store.