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Koji Aoki
Professor Karin Waidley
Film and Culture 1070
14 April 2016

A Crash Collision that all Humanity Takes

As a part of daily life, we as human beings are faced with many

situations. As soon as we are confronted with something, the frontal
lobe of our brain makes an immediate judgment based on prior
knowledge (Henrique 2). Whether these judgments are true or
false, our brain obtains this prior knowledge because of past
experiences, teachings, and the environment we live in. No matter
what judgments are made, humans have been influenced to make
assumptions. While some assumptions may be minor, like if a certain
candy bar is satisfying; other assumptions could detrimentally impact
many lives and bring long-lasting consequences. In the film Crash, Paul
Haggis shows the harmful and negative effects that racial assumptions
can lead to.
Racism and prejudice are demeaning assumptions and
judgments made by people against other people that is rampant in the
Western World. The film Crash, directed by Paul Haggis, literally and
figuratively tells a story of a crash between ethnic groups, socio-

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economic classes, and even occupations in the city of Los Angeles.
Throughout this ultimately counter-hegemonic film, many dominant
ideologies about race, ethnicity, and class are both reinforced and
deconstructed. Haggis successfully presents a counter-narrative to
dominant ideologies with his use of the films title, editing, symbolism,
and characters. These rhetorical choices with the literary design and
technical design make it possible for the film to address racism and
prejudices in a brutally honest way. This film not only forces the
viewers to confront ones uncomfortable thoughts and feelings, but
also challenges and ultimately overthrows the dominant ideologies of
racial stereotyping that are present in our society.
According to Merriam Webster Dictionary, the word crash
means an an accidental or intentional occurrence or a violent
collision(1). This metaphor of the word crash is constantly seen
throughout the film. At first, viewers begin to think that these racial
collisions had only occurred by accident. However, this conscious
choice made by Haggis, helps audience members begin to understand
the corrupt influences stereotypes have in our society. As a result of
these crashes, many stereotypes are deconstructed, and so are the
ideologies that one has. In addition, since the film is titled Crash
viewers already make an assumption that something violent will take
place. Indeed, the viewers are correct. Even film critique of the New
Yorker, Scott Denby, said Haggis is pushing the word crash beyond

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literal: he means any kind of rough contact between folks from
different ethnic groups (Andrews 3). Because of these beyond literal
car crashes, audience members not only gasp at the stereotypes
made. But also, begin to analyze not only their own lives, but also the
degrading stereotypes that are present in our society.
For example, in the opening scene of the movie the metaphor of
the word crash is illustrated when a literal car crash has just
occurred. Following this collision, a confrontation between the drivers
of the two cars develops. An argument between an Asian woman and a
Hispanic woman arises; in which many racial slurs and ethnicallydemeaning judgments are made based upon typical stereotypes. The
racial comments made in the fight may be humorous to the viewers
since no one was physically hurt. However, since audience members
might laugh at this scene, proves that dominant ideologies regarding
race and ethnicity are present in our society. Because of this opening
scene, Haggis is able to simultaneously reinforce the ideology of
ethnocentrism, while establishing the theme that everyone is racist
and prejudiced.
Another way that Haggis is able to reinforce this metaphorical
meaning of a racist crash, is by the use of editing. The editor of the
film Crash, Hughes Winborne, had a challenge to intertwine the lives
ofunrelated character[s] from ethnic, cultural and social backgrounds
over a thirty-six hour period (Peters 2). Since the film Crash was

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released in 2004, just three years after 9/11, there were still many
emotions of fear, anxiety, and racial tensions present throughout the
United States. Furthermore, because the United States is not populated
by just one ethnic group, Winborne had to capture all of these
emotions from multiple ethnic perspectives (Peters 2). Winborne even
said, editing was tricky we had around half-a-million feet of film (2).
However, regardless of the challenges he faced, Winborne was able to
successfully create a fast cutting film between scenes. This fast cutting
editing technique creates a literal car crash feeling for the audience
members.
For example, in the intense scene between Cameron Thayer and
the two carjackers, Anthony and Peter; fast editing is used in order to
thrill audience members. As carjackers in this scene attempt to steal
Thayers car, audience members are mixed with two types of shots.
First, a few subjective shots are seen from the perspective of one
carjacker and then are mixed into multiple objective shots that are
from the perspective of the L.A. police (Andrews 3). The tempo in this
scene quickens as Winborne uses fast cutting between the police and
Thayer as the car chase progresses. As Cameron drives into a cul-desac, the nail biting intensifies. This is possible not only because of
the stupendous acting performance, but also the fast cuts between
Officer Hanson and Thayer. The technical element of using quick paced

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over-the-shoulder shots, creates an action filled racial collision, in this
non-action film (Andrews 2).
Furthermore, the editing not only reinforces the metaphor to the
films title, but also it reinforces the counter narrative. Because Crash
does not follow a classical Hollywood narrative, with one or maybe
two plot lines. As viewers watch, they begin to discover that there is
more than just one perspective from a white male actor. Moreover,
because the films story line is constructed through editing from a
multi-racial perspective, the ideologies of racial stereotyping are
challenged. For example, Daniel, the Latino locksmith is able to
interact with many other characters throughout the film. When he
changes the locks at the Cabots residence, he is accused of being a
typical Latino man, a gang-banger. At first, viewers might agree with
Jeans ethnically-charged assumptions, because of the wardrobe Daniel
is wearing. However, because of the editing, audience members get to
see that Daniel does not live up to that stereotype. In contrast, despite
of living in a neighborhood where gunshots are heard; Daniel is an
incredible loving father and husband. In addition, editing is not the only
technical element used to challenge the status quo.
In order for a counter narrative to be established, Haggis also
uses literary design to communicate the counter-hegemonic message.
The characters of the film are one of these central elements used by
Haggis. Considering that many dominant ideologies of race and

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ethnicity are present throughout the film, many stereotypes are made
and said by characters. Although, many of the characters live up to
these stereotypes; the status quo is questioned. For example, the first
white characters we meet are the stereotypical rich white male and
female, Jean and Rick Cabot. These characters, played by Sandra
Bullock and Brendan Fraser, are beautiful, confident, and obviously
have a high social status. These elements help the viewers identify
these characters and subconsciously label them with privilege. As the
audience expects, Rick Cabot (Brendan Fraser) does have social power
after all because he is an L.A. District Attorney. In this scene, Jean and
Rick have just come from dinner and are walking back to their car. Jean
grabs her husband after seeing two young gang bangers. These
African American teens, played by Ludacris and Larenz Tate, see Jeans
action and discuss how she is a typical racist white woman for
expressing fear in a white neighborhood. Yet ironically, these AfricanAmericans are typical gang members, when they go onto steal the
Cabots SUV, exemplifying Haggis narrative which both complicates
racism while it tries to deconstruct it.
In this scene, Haggis demonstrates a white females racist
behavior, by having Jean clutch her husband for security. However,
Haggis goes onto suggest that her behavior was legitimate, when the
African Americans actually do steal her car.

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Some might argue that in this scene Haggis does not establish a
counter-narrative against white privilege, but does the complete
opposite and reinforces that dominant ideology. But, even though that
might be true, Haggis merely suggests to viewers that a counternarrative could be present in our society. He does this by making
viewers judge the reactions made by Jean. However, because Jean is
ultimately robbed, viewers begin to question whether some
stereotypes are valid are not (Goyette 3).
Another prominent racial collision amongst characters of
different ethnic groups is between Officer Ryan and Cameron and
Christine Thayer. In this scene Officer Ryan, the character played by
Matt Dillon, sexually assaults Thandie Newton right in front of her
husband. As viewers watch, they are overwhelmed with emotions of
anger, disgust, and distrust towards Matt Dillions character. Meanwhile
viewers are also filled with emotions of outrage and confusion when
Cameron Thayer, played by Terrence Howard, idly watches his own wife
get sexually assaulted. Dillons disgusting actions in this scene not only
reinforce the ideology that all white male cops are slimy pricks; but
also it reinforces another truth that minorities in Western society are
powerless, especially against repressive state authorities like the
police. Haggis is able to achieve this by having Matt Dillions character
dehumanize Christine Thayer. Ultimately, this reinforces that male
Caucasians are more dominant than the African-American race.

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Even though this scene reinforced many dominant ideologies, as
the film progresses and character storylines unfold, Haggis is able to
slowly deconstructs those ideologies previously reinforced and
establishes a counter-narrative. For example, previously in the film it
has been established that the white males have power and have no
compassion at all. However, as the story unfolds, audience members
discover that Officer Ryan is empathetic and merciful towards his own
dying father. This literary device suggests to viewers that this
dominant ideology of Whiteness may not be true after all. Ultimately,
Haggis establishes a counter-narrative when Officer Ryan rescues the
same woman he previously assaulted, Christine Thayer, from a burning
car. This heroic action done by Officer Ryan leaves audience members
astonished and puzzled. In spite of this Officers objectionable past,
this event proves that not everyone is classified under a certain
stereotype based upon one action.
Furthermore, Haggis is able to establish the counter-narrative
that not all stereotypes are true, when Officer Hanson accidently kills a
hitchhiker. Unlike the other scenes throughout the movie, this racial
collision between the Officer and the hitchhiker does not occur by
chance. However, this collision was intentional. In this scene Officer
Hanson is driven by his admiring and caring attitude when he
intentionally picks up a stranded hitchhiker, Peter. After the pick-up,
they begin to drive into town. A conversation arises regarding a

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religious statue that located on Hansons car dash. As the
conversation progresses as do tensions and racial assumptions. As
Peter, innocently reaches in his pocket Hanson makes a racial
judgment that he is pulling out a gun and shoots the man. As the
gunshot was heard, Hanson and audience members are immediately
shocked and filled with astonishment over what has just occurred. This
scene is jaw dropping. Hansons accidental misfire shows to viewers
that no one is exempt from racial stereotyping. Ironically, Peter was
reaching for a Christ-like statue, one that not only signified peace,
forgiveness, redemption, and love, but also signified equality between
two ethnic groups. Furthermore, because Hanson burns the dead body,
the counter-narrative is established. By this act, Haggis not only proves
that not everyone lives up to certain stereotypes present in our
society, but also that good-hearted people are capable of evil actions.
After this scene, the status quo is no longer just being challenged but it
is overruled.
Grouping people according to their race, ethnicity, or nationality
overlooks or undervalues the similarities and commonalties that exist
between all human begins (Griffin 48) In the film, Crash, racism and
prejudice is not only addressed but questioned. Throughout the film
many ethnic groups literally and figuratively crash into each other
within a twenty-four hour period. In these crashes many dominant
ideologies are reinforced and deconstructed. After seeing this movie,

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audience members have literally and figuratively seen the extensive
whiplashes that racial stereotypes can have. Viewers are alarmed and
appalled with respect to the frightening ideologies present in our
society. After seeing the astonishing amount of debris that can come
from an innocent racial judgment, viewers are compelled to question
and reflect on their own lives and biases. Likewise, one can agree that
everyone has good and bad inside of them, regardless of their
ethnicity. Although people might live up to certain aspects of a typical
racial stereotypes that does not mean that they are defined by that
stereotype.

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Work Citied

Andrews, Kathryn. 2 Scenes of Crash. Digitalviedoprojects. 23 Apr

2011. Web. 15 Apr 2016.
Goyette, Tori. White Power: An Analysis of Racial Tensions in Crash.
Bostoncollege. ejournals.bc.edu. 3 Nov 2011. Web. 13 Apr 2016.
Griffin, Sean and Benshoff, Harry M. America on Film: Respresenting
Race, Class, Gender, and Sexuality at the Movies. West Sussex,
United Kingdom: Blackwell Publishing Ltd, 2004. Print.
Henrique, Gregg. On Making Judgments and Being Judgmental.
PsychologyToday. Psychologytoday.com. 17 May 2013. Web. 12
Apr 2016.
Merriam-Webster. crash. Merriam-Webster.com. 2015. Web. 12 Apr
2016

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Peters, Oliver. Editing an Oscar Winner Crash. Digitalfilms.
Digitalfilms.wordpress.com. n.d. Web. 15 Apr 2016.
Ray, Sangeeta. Crash or How White Men Save the Day, Again.
College English. Vol 69.4 (2007) 352. Print.
Villanueva, Victor. 3D Sterotypes: Crash. College English. Vol 69.4
(2007). 49. Print.
Winborne, Hughes. Interview with Matt Armstrong. Studiodaily.
Studiodaily.com. 3 Mar 2006. Web. 15 Apr 2016.