Todesbilder Im Film. Eine Arbeitsbibliographie 2018

Repositorium für die Medienwissenschaft

Hans Jürgen Wulff Todesbilder im Film. Eine Arbeitsbibliographie 2018 https://doi.org/10.25969/mediarep/12811

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Redaktion und Copyright dieser Ausgabe: Hans J. Wulf. ISSN 2366-6404. URL: htp://berichte.derwulf.de/0177_18.pdf. Letzte Änderung: 11.12.2017.

Todesbilder im Film. Eine Arbeitsbibliographie Zusammengestellt von Hans J. Wulf

Das Forschungsfeld Tod kann friedevoll sein, plötzlich oder endlos, hero- isch oder erbärmlich, schmerzlos oder quälend, ein- Dass der Tod nicht nur eine medizinische, sondern sam oder im Kreise der Familie. Tod ist nichts Ein- auch eine kulturelle Tatsache ist, ist spätestens seit heitliches, sondern ausgefaltet in eine fast unüberseh- Ariès’ Überlegungen zur Geschichte des Todes kultu- bare Vielfalt der Formen des Sterbens. Es gibt Stereo- rologische Selbstverständlichkeit. Tod verändert sich typen und formelhafe Erzählungen, die das Unsagba- in seinen verschiedenen Modellierungen und Sinnho- re des Sterbens für die Lebenden zugänglich machen, rizonten historisch und ist in die diversen Sinn- und es erklären und auslegen, es in weitere Kontexte ein- Glaubenssysteme jeweiliger Kulturen eingepasst. Er betten und als sinnloses oder sinnhafes, abruptes wird narrativisiert und dramatisiert, mit Geschichten und unerwartbares, fatales oder logisches Ende der umstellt, in immer neuen Kontextualisierungen aus- Lebenserzählung usw. fassbar machen. Tod wird gelegt und in Verbindung mit der Gesellschaf, dem manchmal zum Beginn einer Reise, das Sterben zu Glauben, individuellen Lebensentwürfen oder auch einer Transformation oder zu einem Übertrit oder der Gewalt gebracht, als Gegenüber der Liebe be- auch zum Kollaps und Zusammenbruch von Hand- stimmt und als Erfahrung tiefsten Verlustes charakte- lungsmacht und Selbstkontrolle. Medizinisches gerät risiert. Und in den Künsten ist er ein Tema über die dann mit Psychologischem und Kulturellem zusam- Zeiten hinweg. Der Entwurf von Sinnhorizonten ist men, mit Spirituellem oder Religiösem, mit Philoso- eine basale kulturelle Leistung. Wie andere anthropo- phischem oder Ästhetischem. Es mag zu den ureigen- logische Tatsachen menschlichen Lebens wird er in sten Leistungen der Künste rechnen, dass sie solche kulturellen Konzeptualisierungen gefasst, als heroi- elementaren Tatsachen des individuellen und gesell- scher, süßer, beiläufger Tod; vielleicht auch als Tod schaflichen Lebens wie den Tod thematisieren. Na- für andere, als demonstrativer oder stellvertretender türlich behandelt auch der Film den Tod von Beginn Tod, sogar als Liebestod; und manchmal nimmt er an. selbst Gestalt an, im Totentanz, als „Schniter Tod“ oder auch als Engelsfgur. Konzeptualisierungen des Wie oben schon bemerkt: Es bedarf der Kontextana- Todes sind rhizomatisch-netzwerkartige Komplexe lyse, wenn man an die Kulturalität des Todes sich an- des (individuellen, vor allem aber des kollektiven) nähern will. Das Gros der vorliegenden Untersuchun- Wissens, umfassen ein medizinisches Sachwissen, gen entäuscht gerade in dieser uualität – weil quan- Bilder und Geschichten, Erklärendes und Beschrei- titative Inhaltsanalysen gerade diesen, of sehr kom- bendes, philosophische und theologische Auslegun- plexen, Zusammenhang kaum erfassen können, weil gen, die mit dem Tode verbundenen Ritualisierungen Einzelanalysen zwar im Einzelfall die manchmal und Emotionen gleichermaßen (und für den Einzel- höchst eigenständigen Auslegungen, die ein Film vor- nen kommt vielleicht Selbsterlebtes dazu – aber auch schlägt und ausprobiert, aufspüren können, dann das ist ihm nur zugänglich unter Nutzung jenes wei- aber wiederum wenig generalisierbar sind (und Kon- teren Horizonts des Wissens). zeptualisierungen des Todes oder des Sterbens nur in einer Abschatung erfassen), weil fachdisziplinäre Zugänge (etwa theologischer, philosophischer oder Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 2 ikonographischer Art) durch die Auslegeordnun- creasing possibilities for, the disruption of this gen ihrer Heimdisziplinen beschränkt sind und distance. With the various crises of current times, manchmal die Vielgestaltigkeit und Heterogenität be they economic, environmental or regional, des Wissenskomplexes (der eben auch Elemente such possibilities for this disruption, and the al- der Populärkultur mit-umfasst) selbst kaum zu re- tered dynamics of human connection that they konstruieren vermögen. represent, can only gain in signifcance.

Aaron, Michele: Death and the Moving Image: Ide- Das folgende Verzeichnis listet die bis heute zu- ology, Iconography and I. Edinburgh: Edinburgh gänglichen Untersuchungen zu den Todes-Kon- University Press 2014, ix, 256 S. zeptionen auf sowie eine ausgewählte Anzahl von Darin u.a.: Watching Others Die: Spectatorship, Untersuchungen zur Analyse des Suizids und zur Vulnerability and the Ethics of Being Moved, S. Todesstrafe im Film. Kürzere Artikel wurden nicht 155–178. – Te Cinematic Language of Dying, S. 99–126. – Grammar Lessons: Dying and Difer- aufgenommen, längere und Einzelflmanalysen ence, S. 127–154. nur dann, wenn sie von methodischem Interesse sind. Meist sind die Titel sprechend. Im Einzelfall Aaron, Michele: Cinema and suicide: Necromanti- wurde eine Kurzannotation beigegeben. cism, dead-already-ness, and the logic of the van- ishing point. In: Cinema Journal 53,2, Winter 2014, S. 71–92. Die Bibliographie Discusses especially Sofa Coppola’s The Virgin Suicides and Hany Abu-Assad’s Paradise Now. [*] Dank gilt Jessica Nitsche für ihre Hinweise. Aebischer, Pascale: Shakespeare’s Violated Bodies: Aaron, Michele (ed.): Envisaging Death: Visual Stage and Screen Performance. Cambridge, UK / Culture and Dying. Newcastle upon Tyne: Cam- New York: Cambridge University Press 2003, xiii, bridge Scholars Publishing 2013, ix, 245 S. 221 S. “Advanced” society has been characterised by an Inhalt: Te gravedigger’s daughter: a story of loss increased distancing of death from the everyday, – Filling the empty space – Titus Andronicus: and its distortion or invisibility within the public spectacular obscenities – ’Not dead? not yet quite sphere. Te essays collected here return some dead?’: Hamlet’s unruly corpses – Murderous shape and context, and geo-politics, to the treat- male moors: gazing at race in Titus Andronicus ment of death and dying within contemporary and Othello – En-gendering violence and sufer- culture, and specifcally within contemporary vi- ing in King Lear – Polly goes to Hollywood: a sual culture which provides an ever more domi- success story. nating forum for society’s depiction of and deal- Tis study looks at the violation of bodies in ings with death. Charting important new inter- Shakespeare’s tragedies, especially as revealed disciplinary terrain, scholars and practitioners (or concealed) in performance on stage and from a wide range of felds address an assort- screen. Pascale Aebischer discusses stage and ment of cultural mediations of real, fctional or screen performances of Titus Andronicus, Hamlet, fctionalised death. Tey navigate, in diferent Othello and King Lear with a view to showing ways, the fraught, policed, but always relative, how bodies which are virtually absent from both distance between the living and the dead which playtexts and critical discourse (due to silence, characterises these mediations, a distance which disability, marginalisation, racial otherness or works, inevitably, to reassure and re-secure those death) can be prominent in performance, where supposedly untouched by death and dying. Envi- their representation refects the cultural and poli- saging Death, whether through discussion of the tical climate of the production. Aebischer focuses cemetery landscape, the still or moving image, on post-1980 Royal Shakespeare Company and the therapeutic or educational art practice, ad- Royal National Teatre productions but also co- dresses how such a distance is reinforced. It also, vers flm adaptations and landmark productions crucially, explores countless cases of, and in- from the nineteenth century onwards. Her book Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 3

will interest scholars and students of Shakes- Spring 1987, S. 32–43. peare, gender, performance and cultural studies Berman, Alan L.: Fictional Depiction of Suicide in (Publisher). Television Films and Imitation Efects. In: The American Journal of Psychiatry 145, 1988, S. 982– Ariès, Philippe: Geschichte des Todes. München/ 986. Wien: Hanser 1980, 822 S. Burleigh, Michael: Tod und Erlösung. Euthanasie in Arnheim, Rudolf: Der Tod im Film. In: Rudolf Deutschland 1900–1945. Zürich/München: Pendo Arnheim, Kritiken und Aufsätze zum Film. Hrsg. v. 2002, 425 S. Helmut H. Diederichs. München: Hanser 1977, S. Darin Kap. 6: Mord im Angebot: Der Film als 135–137. Mittel der Propaganda fürs Töten, S. 211–255. Zuerst in Berliner Tageblat, Nr. 611 v. 25.12. 1932. Zuerst engl.: Death and Deliverance: “Euthanasia” Repr. in Arnheims Die Seele in der Silberschicht. in Germany, 1900–1945. Cambridge / New York / Frankfurt: Suhrkamp 2004, S. 122–124. Melbourne: Cambridge University Press 1995, xvii, 382 S. Baird, Jay W.: To Die for Germany: Heroes in the Nazi Pantheon. Bloomington [...]: Indiana Univer- Casta, Isabelle: Nouvelles mythologies de la mort. sity Press 1992, 329 S. ( A Midland Book.). Paris: Champion 2007, 228 S. (Bibliothèque de lit- Zum Modell des Heldentodes. térature générale et comparée. 67.).

Barber, Bruce: Trans-actions: Art, Film and Death. Cavanaugh, Carole: Eroticism in Two Dimensions: New York/Dresden: Atropos Press 2009, 346 S. Shinoda Masahiro’s Double Suicide (1969). In: Ja- (Tink Media: EGS Media Philosophy Series.). panese Cinema: Texts and Contexts. Ed. by Alastair Inhalt: Making the limit – Te Truth in cinema – Phillips & Julian Stringer. London/New York: Art history’s signifcant other ..flm studies – Routledge 2007, S. 205–216. Screen education – Art, artists and art history in flm – Alterity, sovereign consciousness insubor- Cavicchia Scalamonti, Antonio: La camera verde. dination – Revisiting ideology, class and hegemo- Il cinema e la morte. Napoli: Ipermedium Libri ny – Te Status of the other – Is that all there is? 2000, 187 S. (Memorabilia. 6.). – Te Artist Manqué as Alter Deus – Genius and madness – Suicide – Te Case of Guy Debord – Christ, Ulrike: Das Todesbild in Daily Soaps. In: Murder as one of the fne arts – Tomas De Jugend – Werte – Medien: Der Diskurs. Hrsg. v. uuincey’s murderous aesthetics – Oscar Wilde’s Gudrun Marci-Boehncke & Mathias Rath. Wein- “Te Picture of Dorian Gray” – Te Pygmalion heim: Beltz 2006, S. 139–152. Effect – Bucket of Blood – Peeping Tom – Afer Darstellungvon Tod und Sterben zunächst in- Hours – Still Life – Te art crimes of Alfred haltsanalytisch am Beispiel der Daily Soaps Hitchcock – The Lodger – Blackmail – The Trou- Mari- und . ble with Harry – Frenzy – A Perfect Murder – Dial enhof Verbotene Liebe M for Murder – Art and death in the flms of Pe- ter Greenaway – The Falls – The Draughtman’s Combs, Scot: Mobile Endings: Screen Death, Ear- Contract – Te belly of an artist – A Zed and Two ly Narrative, and the Films of D. W. Grifth. In: Noughts – The Belly of an Architect – The Cook, Cinema Journal 52,1, Fall 2012, S. 90–106. the Thief, His Wife and Her Lover – Te death of flm – Cinematic subversion and the theory of Combs, C. Scot: The Jazz Singer or the Corpse: Al the avant-garde – Détournement as deconstruc- Jolson, Diegetic Music, and the Moment of Death. tion – Guy Debord’s flms – Hurlements en fa- In: Music and the Moving Image 5,3, Fall 2012, S. veur de Sade – In girium imus nocte et consumi- 46–55. mur igni – Postscript. Tis article looks at Alan Crosland’s The Jazz Singer (1929), the frst talking flm to employ re- Barr, Alan: Alain Resnais’ Elegy on Death and corded sound for a death scene, in order to deter- Dying: Providence. In: New Orleans Review 14,1, mine how it compensates for the absence of a vi- Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 4

sible depiction of death. Diegetic music places Därmann, Iris: Tod und Bild. Eine phänomenologi- the terminal sign of death further outside the sche Mediengeschichte. München: Fink 1995, 523 S. screen body and closer to the body of the specta- (Phänomenologische Untersuchungen. 5.). tor. Zugl.: Bochum, Univ., Diss., 1993.

Combs, C. Scot: Deathwatch: American Film, Tech- Davis, Darrell William: Historical uses and misus- nology, and the End of Life. New York: Columbia es: Te Janus face(s) of The Abe Clan. In: Film His- University Press 2014, VIII, 276 S. tory 71. Spring 1995, S. 49–68. Inhalt: Introduction: an elusive passage – Mortal On the representation of suicide and death in Hi- recoil: early American execution scenes and the satora Kumagai’s samurai flm Abe Ichizoku. electric chair – Posthumous motion: the death- work of narrative editing – Echo and hum: Deacy, Christopher: Screening the Aferlife: Theolo- death’s acoustic space in the early sound flm – gy, Eschatology, and Film. Abingdon, Oxon / New Seconds: the fashback loop and the posthumous York, NY: Routledge 2011, xii, 188 S. voice – Terminal screens: cinematography and A unique and fascinating exploration of the ‘last electric death – Coda: end(ings). things’ as envisaged by modern flmmakers. Drawing on a range of flms from Flatliners and Conard, Mark T.: God, suicide, and the meaning of What Dreams May Come to Working Girl and The life in the flms of Woody Allen. In: Woody Allen Shawshank Redemption, it ofers the frst compre- and Philosophy: You Mean My whole Fallacy Is hensive examination of death and the aferlife Wrong? Ed. by Mark T. Conard & Aeon J. Skoble. within the growing feld of religion and flm. To- Foreword by Tom Morris. Chicago, Ill.: Open pics addressed include: the survival of person- Court 2004, S. 7–23 (Popular Culture and Philoso- hood afer death, the language of resurrection phy. 8.). and immortality, Near-Death Experiences and Mind-Dependent Worlds, and the portrayal of Cortina Selva, Mar: Pedagogía de la muerte a tra- ‘heaven’ and ‘hell’. vés del cine. Madrid: Ed. Universitas 2011, 255 S. Am besonderen Beispiel der Filme Kiarostamis. Deacy, Christopher / Vollmer, Ulrike (Hrsg.): Blick über den Tod hinaus. Bilder vom Leben nach dem Cox, Meredith / Garret, Erin / Graham, James A.: Tod in Theologie und Film. / Seeing beyond Death: Death in Disney Films: Implications for Children’s Images of the Aferlife in Theology and Film. Mar- Understanding of Death. In: Omega. Journal of burg: Schüren 2012, 200 S. (Film und Teologie. Death and Dying 50,4, 2004–05, S. 267–280. 18.). Tis study examined the potential infuence of Das Kino hat sich u.a. christlicher, theologischer Disney flms on children’s concepts of death. A Konzepte (Himmel, Hölle, Fegefeuer), sowie bi- content analysis was performed on 23 death blischer Bilder (neues Jerusalem) bedient. Durch scenes from 10 selected full-length Disney Clas- die Integration dieser Konzepte und Bilder in sic animated flms. Te portrayal of death fo- einen neuen Zusammenhang hat das Kino jedoch cused on fve categories: character status; depic- deren ursprüngliche Bedeutung verändert. Im tion of death; death status; emotional reaction; Vergleich zum eschatologischen Denken er- and causality. Te fndings indicate that some scheint das Leben nach dem Tod im Kino viel animated Disney flms present scenes that eclipse eher als materielle, weniger symbolische Realität; the permanence and irreversibility of death and als Fortsetzung des Diesseits. Der vorliegende often leave deaths (especially those of villains) Band erörtert durch spezifsche Filmanalysen emotionally unacknowledged. Previous work has und Studien flmischer Symbolik, ob die Ähnlich- shown that many children tend not to discuss keiten und Unterschiede zwischen theologischen death with their friends or parents for many rea- und flmischen Vorstellungen vom Jenseits zur sons. More importantly, the flms may serve as Entwicklung eines eschatologischen Konzepts catalysts to introduce the concept of death into beitragen können, welches im kulturellen Be- discussions between children, peers, and adults. wusstsein westlicher Prägung Resonanz fndet. Auswahl besprochner Filme: Stirb nicht, ohne mir Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 5

zu sagen, wohin Du gehst, Hinter dem Horizont, courses is provided. A broad range of topics and Der Tod steht ihr gut, Vier Hochzeiten und ein To- approaches concerned with death is encompas- desfall, Star Trek II – Der Zorn des Khan, Das sed. schwarze Loch, Panzerkreuzer Potemkin, Accatto- ne u.v.m. Durkin, Keith F.: Death, Dying, and the Dead in Popular Culture. In: Handbook of Death & Dying. Decotignies, Isabelle: La mort dans le flm noir Ed. by Clifon D. Bryant. Tousand Oaks, Cal.: américain classique (1940–1960). Diss., Université Sage 2003, S. 43–49. Lille 2005, 772 Bl. Echle, Evelyn: Wenn der Tod zum Tanz einlädt. Dillman, Joanne Clarke: Women and Death in Herk Harveys Carnival of Souls als flmisches Film, Television, and News: Dead but Not Gone. Niemandsland zwischen Diesseits und Jenseits. In: New York / Basingstoke: Palgrave Macmillan L’art macabre, 8, 2007, S. 53–56. 2014, x, 207 S. Inhalt: Introduction – Film narratives, dead wo- Echle, Evelyn: Danse Macabre im Kino. Die Figur men, and their meaning in a changing world – des personifzierten Todes als flmische Allegorie. Family flms gone terribly wrong: The Lovely Stutgart: ibidem 2009, XII, 112 S. (Film- und Me- Bones (2009) and Disturbia – Television narra- dienwissenschaf. 6.). tives and dead women: channeling change – Trit der Tod als Akteur im Kino auf, zeigt er sich News-mediated narratives of disappearance: erstaunlich facetenreich: von müde bis schlitz- Chandra Levy, Laci Peterson, Natalee Holloway, ohrig, von sanf bis brutal. Aufallend ist jedoch and conventions of dead women in the news. – die ikonographische Treue der Figur zu ihrer Dead women litter the visual landscape of the kunsthistorischen Tradition mit Kute, Kutsche 2000s. Films, television shows, and news reports und Sense. Der Tod im Kino ist also gleichsam are saturated with images of dead female bodies, immer auch eine Allegorie. Doch wie genau ist women being murdered, women who have come diese flmische Figur konzipiert? Wie erreicht das back from the dead, disappeared women who are Kino die Momente der Unmitelbarkeit, die es für presumed to be dead, and women threatened die Empathie mit dem Tod braucht? Evelyn Echle with death. Compared to earlier decades, images präsentiert drei exemplarische Fallstudien zu of dead women are much more graphic and sen- ausgewählten Filmen aus unterschiedlichen flm- sationalized in these contemporary, mainstream geschichtlichen Perioden und Diskursen. Neben cultural products. Te book explains the contex- den Stummflm-Klassikern Der müde Tod tual environment from which these images have (Deutschland 1921) und Körkarlen – Fuhrmann arisen, how the images relate to (and sometimes des Todes (Schweden 1921) analysiert sie mit Ing- contradict) the narratives they help constitute, mar Bergmans Film Das siebente Siegel (Schwe- and the cultural work that dead women perform den 1956) drei kanonisierte Tode der Filmge- in visual texts. Across the visual feld, the bodies schichte und zeigt so eine Fülle von historischen, of dead women have both a haunting power and kulturellen und medialen Kontexten auf. Gleich- a disciplining function that can be seen but not zeitig werden wichtige theoretische Grundlagen stated as such. Although many of the visual texts zur Allegorie und flmischen Figur geklärt sowie gesture to and acknowledge feminist gains, their die präflmische Geschichte des Schniters in per- use of images of dead women has the symbolic sona, insbesondere des Totentanzes, beleuchtet. efect of forcing women’s immobilization while Rez. (Lars Grabbe) in: Sehepunkte 10,5, 2010, also reafrming constraints on women within [URL]. still powerful patriarchal structures (Publisher). Eder, Jens: Todesbilder in neueren Fernsehserien: Duke, Phyllis: Media on death and dying. In: CSI und Six Feet Under. In Robert Blanchet, Kristi- Omega: Journal of Death and Dying 6,3, 1975, S. na Köhler, Tereza Smid, Julia Zutavern (Hrsg.); Se- 275–287. rielle Formen. Von den frühen Film-Serials zu aktu- An annotated list of flms, tapes and other in- ellen Quality-TV- und Online-Serien. Marburg: structional aids appropriate for death education Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 6

Schüren 2011, S. 277–298 (Zürcher Filmstudien. French, Peter A.: Cowboy Metaphysics: Ethics and 25.). Death in Westerns. Lanham, Md.: Rowman & Lit- tlefeld 1997, XII, 162 S. Eichhorn, Stephanie / Groeben, Norbert: Tod und French examines the world of the western, one in Sterben in der neueren Kinder- und Jugendlitera- which death is annihilation, the culmination of tur. Eine inhaltsanalytische Erkundungsstudie. In: life, and there is nothing else. In that world he Siegener Periodicum zur Internationalen Empiri- fnds alternatives to Judeo-Christian traditions schen Literaturwissenschaf (SPIEL) 15, 1996, S. that dominate our ethical theories, alternatives 183–201. that also atack the views of the most prominent ethicists of the past three centuries. Feldmann, Klaus: Tod und Medien. Hannover: Ins- titut für Psychologie und Soziologie in den Erzie- Fuchs, Bernhard: Indische Totentänze – Skelete, hungswissenschafen 2002, [URL]. Tod und Sterben im Hindiflm. In: L’art macabre 6, 2005, S. 21–32. Fernández Morales, Marta: “Civil War Inside My Body”: Two Narratives of Dying in Contemporary Frey, Reiner: Zum Tod im Film des Driten Reichs. Anglophone Film. In: Miscelánea: A Journal of In: Filmfaust 17–18, 1980, S. 40–45. English and American Studies 36, 2007, S. 39–54. Fritz, Raimund / Edmond, Helma: Tendenzen und Fetro, Joyce V. / Lyde, Adrian R. / Russell, Robert Einfüsse des Todes im Westernkino 1962–1968. D.: Perspectives on Death and Dying: Refections In: Maske und Kothurn 39,4, 1998, S. 7–56. in Music and the Arts. In: American Journal of Health Education 32,6, 2001, S. 371–373. Frost, Jennifer: Movie Star Suicide, Hollywood Gossip, and Popular Psychology in the 1950s and Filmdienst 59,11, 25.5.2006, 66 S. [= Temenhef: 1960s. In: The Journal of American Culture 34,2, „Der ungerechte Tod. Darstellung des Todes im June 2011, S. 113–123. Film“.] Enthält die Temenbeiträge: Marschall, Susanne: Gawert, Johannes: Blaubarts verbotene Tür: Bilder Spuren des Schrecklichen. Beobachtungen zur des Todes im Kino und auf Video. In: epd Film, 8, Endlichkeit im Kino (S. 6–9). – Maurer, Roman: 1984, S. 14–16. Im Zimmer der Erinnerung. Trauerarbeit und Trostsuche im Film (S. 10–12). – Liptay, Fabien- Gehrau, Volker: Der kultivierte Tod. Der Einfuss ne: Filmische Andachtsbilder. Die Pietà – eine Fi- des Fernsehens auf unsere Vorstellung vom Ster- gur des Mitgefühls (S. 13–15). – Keutzer, Oliver: ben. In: EndZeitKommunikation. Diskurse der Tem- Provokante Verschränkung. Opferdarstellungen poralität. Hrsg. v. Joachim Westerbarkey. Münster: im Film konfrontieren die Moderne mit ihrer LIT 2010, S. 99–112 (Beiträge zur Kommunikati- düsteren Kehrseite (S. 16–18). – Hasenberg, Pe- onstheorie. 26.). ter: Der Held erwacht. Tod und Auferstehung in den Jesusflmen (S. 19–21). – Der „ungerechte Geimer, Alexander / Lepa, Stefen: Todesvorstel- Tod“. Darstellungen des Sterbens im Kino. [Film- lungen und Todesdarstellungen. Hat die Rezeption liste], S. 22–24. – Ganter, Mathias: Hemm- von Post-Mortem-Filmen eine orientierungsbil- schwellen. Kontrovers diskutierte Spielflme zum dende Funktion für Jugendliche? In: TV Diskurs Tema Sterben (S. 24–26). – Kronemeyer, Nadja: 11,3, 2007, S. 42–45. Im Transit. Zwischen Leben und Tod: Sterbepas- Die Autoren sehen in der Todeskonzeption von sagen im Film (S. 50–52). – Lederle, Josef: Alles Post-Mortem-Filmen auch eine Dekonstruktion wird gut. Beobachtungen zum Tod im aktuellen religiöser Kategorien und der christlich-abend- Mainstream-Kino (S. 52–55). – Kleiner, Felicitas: ländischen Todesmythologie und deuten den Er- Long Way Home. Aufruch am Ende der Lebens- folg des Genres als Ergebnis eines Orientierungs- reise (S. 55–57). – Gerle, Jörg: Der bunte Tod (S. bedürfnisses Jugendlicher hinsichtlich der Sinn- 58). fragen über den Tod und das Sterben. Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 7

Genelli, Lyn / Genelli, Tom Davis: Death at the networks of acquaintances, friends, and family. Movies: Hollywood’s Guide to the Hereafer. [E- We argue that photo-sharing through Instagram Book-Ed.:] Wheaton, Ill. / Chennai: uuest Books/ echoes broader shifs in commemorative and me- Teosophical Publishing House 2013, 226 S. morialization practices, moving away from for- It’s a Wonderful Life (1946), Resurrection (1980), mal and institutionalized rituals to informal and Poltergeist (1982), Beetlejuice (1988), Ghost (1990), personalized, vernacular practices. Finally, we Groundhog Day (1993), The Sixth Sense (1999) — consider how Instagram’s ‘platform vernacular’ these are only a few of the infuential movies in unfolds in relation to traditions and contexts of recent decades dealing with the aferlife. But be- death, mourning, and memorialization. Tis re- yond entertainment, do they mean anything? Te search contributes to a broader understanding of authors of this wise and well-informed guide be- how platform vernaculars are shaped through lieve so. Tey explore how popular motion pic- the logics of architecture and use. Tis research tures, from Outward Bound (1930) to Hereafer, also directly contributes to the understanding of play a perhaps unconscious role in guiding hu- death and digital media by examining how social manity toward its evolutionary comprehension media is being mobilized in relation to death, the of the meaning and purpose of death. Tey draw diferences that diferent media platforms make, on the Tibetan Book of the Dead, Buddhism, and and the ways social media are increasingly en- depth psychology to review some of the most twined with the places, events, and rituals of spiritually powerful flms ever made. Death is, mourning. say the authors, at once the most immediate locked door and the ultimate frontier, a stagger- Gibson, Margaret: Death Scenes: Ethics of the ing paradox that invites us to search for deeper Face and Cinematic Deaths. In: Mortality 6,3, Nov. understanding based upon a level of conscious- 2001, S. 306–320. ness beyond thought. Tis paper focuses on “death scenes” in the context of flm. Death haunts our living as an imma- Gerbner, George: Death in Prime Time: Notes on nence & alterity shadowing & marking our mate- the Symbolic Functions of Dying in the Mass Me- rial being. We live knowing we are going to die dia. In: Annals of the American Academy of Politi- & we live this knowing in the face of others & cal and Social Science 447, 1980, S. 64–70. through various forms of representation. Te cer- Te cultural (and media) signifcance of dying tainty that we are going to die is also fraught rests in the symbolic context in which represen- with uncertainty & anxiety about how & when tations of dying are embedded. An examination we are going to die. Representations of death in of that context of mostly violent representations flm ofer many ways of facing, defecting, or suggests that portrayals of death and dying serve projecting these anxieties onto others. While symbolic functions of social typing and control mastery of others through violence & murder is a and tend, on the whole, to conceal the reality and signifcant aspect of flm culture, the central aims inevitability of the event. of this paper are to speak of the alterity of death – that which escapes mastery – & to examine the Gibbs, Martin / Meese, James / Arnold, Michael / desire to do justice to or annihilate this alterity in Nansen, Bjorn / Carter, Marcus: Funeral and Insta- the face of others facing death. Te question of gram: death, social media, and platform vernacu- how we face or enact death through cinematic representation, narrative, & performance is wo- lar. In: Information, Communication & Society 18,3, ven in this paper with the question of how repre- 2015, S. 255–268. sentation mediates an always immediate & al- Tis paper presents fndings from a study of In- ways unmediated immanence. Tis paper devel- stagram use and funerary practices that analysed ops some of its discussion of flm death scenes photographs shared on public profles tagged with reference to Emmanuel Levinas’s writings with ‘#funeral’. We found that the majority of on alterity, death, & the face. 24 References. images uploaded with the hashtag #funeral ofen communicated a person’s emotional circumstan- Giera, Joachim / Strobel, Hans (Hrsg.): ces and afective context, and allowed them to re- Vom Ab- position their funeral experience amongst wider schiednehmen und Traurigsein. Über Sterben, Tod Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 8 und Trauer im Kinderflm. München: Kinder- Hagin, Boaz: Death in Classical Hollywood Cine- Jugend-Film-Korrespondenz 1997, 64 S. ma. Basingstoke / New York: Palgrave Macmillan Temenhef der Kinder- und Jugendflm-Korres- 2010, ix, 201 S. pondenz. Inhalt: Te Meaning of Death in Classical Holly- wood – Two Platos: Death, Truth and Knowledge Grant, Jacques: Des flms de peur et de mort. In: Embodying the Past – Melodrama and the Shap- Cinéma 76,211, juill. 1976, S. 46–50. ing of Desires to Come – Te Cult of the Dead and Powers of the False – A Perpetual Present: Grønstad, Asbjørn: Transfgurations: Violence, Death and the War Film – Conclusions: Te End Death and Masculinity in American Cinema. Am- of Classical Death. sterdam: Amsterdam University Press 2008, 274 S. (Film Culture in Transition.). Hajok, Daniel / Richter, Antje: Medienrezeption In many senses, viewers have cut their teeth on als Kommunikatbildungsprozess: Ein Forschungs- the violence in American cinema: from Anthony projekt zur individuellen Rezeption von Tod im Perkins slashing Janet Leigh in the most infa- Film. In: Rezeptionsstrategien und Rezeptionsmoda- mous of shower scenes; to the 1970s masterpie- litäten. [Tagung der Fachgruppe Rezeptionsfor- ces of Martin Scorsese, Sam Peckinpah and Fran- schung der Deutschen Gesellschaf für Publizistik- cis Ford Coppola; to our present-day undertak- und Kommunikationswissenschaf.] Hrsg. v. Vol- ings in imagining global annihilations through ker Gehrau, Helena Bilandzic u. Jens Woelke. terrorism, war, and alien grudges. Transfgura- München: Fischer 2005, S. 201–218 (Rezeptions- tions brings our cultural obsession with flm vio- forschung. 7.). lence into a renewed dialogue with contemporary theory. Grønstad argues that the use of vio- Hakola, Outi: Rhetoric of Modern Death in Ameri- lence in Hollywood flms should be understood can Living Dead Films. Bristol / Chicago: Intellect semiotically rather than viewed realistically; Books 2015, vii, 175 S. (Studies on Popular Culture Transfgurations thus alters both our methodolo- Series.). gy of reading violence in flms and the meanings Investigates the ways in which American living- we assign to them, depicting violence not as a dead flms have addressed death through difer- self-contained incident, but as a convoluted net- ent narrative and rhetorical solutions during the work of our own cultural ideologies and beliefs. twentieth century, focussin on flms from the 1930s, of the 1950s and 1960s, and more recent Gross, Angelika: Zur Bedeutung der Totentanz- fare. Ultimately, the book succeeds in framing Sequenz in Jean Renoirs Film Die Spielregel von the tradition of living dead flms, discussing the 1939. In: L’art macabre 6, 2004, n.p. cinematic processes of addressing the flms’ viewers, and analyzing the flms’ socio-cultural Guthmann, Jens: Dance of Death goes Pop. Toten- negotiation with death in this specifc genre. tanz im Musikvideo Rock DJ von Robbie Williams. In: L’art macabre 2, 2001, S. 19–25. Harrington, C. Lee: Te ars moriendi of US serial television: Towards a good textual death. In: Inter- Hackenberg, Achim / Hajok, Daniel / Richter, national Journal of Cultural Studies 16,6, Septem- Antje: Medienrezeption als Kommunikatbildungs- ber 2012, S. 579–595. prozess. Eine empirische Untersuchung zur Re- While a growing body of scholarship explores zeption von Tod und Sterben im Film. In: Zählen narrative beginnings, much less is known about oder Verstehen? Diskussion um die Verwendung narrative endings or narrative ‘deaths’. In this ar- quantitativer und qualitativer Methoden in der em- ticle I draw on media studies as well as geronto- pirischen Kommunikationsforschung. Hrsg. v. An- logical and thanatological literature to explore dreas Fahr. Köln: Halem 2011, S. 160–176. (Metho- the endings of US serial television, focusing on den und Forschungslogik der Kommunikations- the criteria required for a ‘good textual death’. wissenschaf. 4.). Situated in the notion that cultural objects have a biography or a life span much as individuals do, I Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 9

ultimately explore the implications of a thanato- Hünerfeld, Sebastian: Wege aus der Einsamkeit. logy of media studies. Selbstmord im Film. In: Kino der Extreme. Kultur- analytische Studien. Hrsg. v. Marcus Stiglegger. St. Harty, Kevin J.: Roll the Final Credits: Some Notes Augustin: Gardez!-Vlg. 2002, S. 53–68 (Filmstudi- on Cinematic Depictions of the Death of Arthur. en. 8.). In: Karen Cherewatuk & K. S. Wheter (eds.): The Arthurian Way of Death: The English Tradition. Hurst, Mathias: Bye Bye Life: Broadway-Toten- Woodbridge, UK / Rochester, N.Y.: Brewer 2009, S. tanz und All that Jazz. In: KulturPoetik 15,2, 2015, 241–248 (Arthurian Studies. 74.). S. 226–242. Te popular song “Bye Bye Love” is about a man Heller, Andreas / Knop, Mathias (Hrsg.): Die who has been lef by his lover and now feels he Kunst des Sterbens. Todesbilder im Film – Todesbil- could die of sadness and loneliness. Despite its der heute. Düsseldorf: Filmmuseum Düsseldorf bleak topic, the song conveys an ironic and jaun- 2008, 206 S. ty mood. A variation of this song, “Bye Bye Life”, Begleitpublikation zur Ausstellung Die Kunst des is presented in the fnal act of Bob Fosse’s musi- Sterbens – Todesbilder im Film – Todesbilder Heu- cal flm All That Jazz, depicting a Broadway te, Filmmuseum Düsseldorf 19. April 2008 bis 13. choreographer’s encounter with death. Te use Juli 2008. of the song and its particular staging refect the unconventional story and narrative discourse of Herrmann, Jörg: Tod und Sterben in den Medien. Fosse’s flm. It’s a modern dance of death, creat- Beobachtungen, Interpretationen, Konsequenzen. ing a tension between the lust for life and the In: tà katoptrizómena – Magazin für Kunst, Kultur, struggle with death; it bristles with existential Theologie und Ässthetik, 105, 2017, [URL]. criticism and the ambivalence of the solemn beauty and the threatening inevitability of death. Hervo, Brigite: Sinnvolle, sinnliche, übersinnliche Todesinszenierungen im japanischen Film. In: Hurth, Elisabeth: Alle Toten auf ihre Plätze! Die . Mainz: Mathias Filmfaust 19, 1980, S. 45–50. mediale Inszenierung des Todes Grünewald 2004, 144 S. Inhaltsanalytische Untersuchungen über Todes- Horak, Jan-Christopher (1981) Liebe, Pficht und bilder in unterschiedlichen TV-Genres wie Kri- die Erotik des Todes. In: Eine Re- Preußen im Film. mis, Arzt- und Krankenhausserien, Talk-Shows trospektive der Stifung Deutsche Kinemathek. sowie Daily Soaps. Hrsg. v. Axel Marquardt u. Heinz Rathsack. Rein- bek: Rowohlt, S. 205–218 (Preußen. Versuch einer Husson-Casta, Isabelle: Nouvelles mythologies de Bilanz. 5.). la mort. Paris: Champion 2007, 228 S. (Bibliothè- Zu Todessehnsucht und Heldentod. que de litérature générale et comparée. 67.).

Horne, John: Screening the Dying Individual: Jackson, Neil / Kimber, Shaun / Walker, Johnny / Film, Mortality and the Ethics of Spectatorship. In: Watson, Tomas, Joseph (eds.): Snuf: Real Death The Power of Death: Contemporary Relections on and Screen Media. New York/London: Bloomsbury Death in Western Society. Ed.: Blanco, Maria-José. Academic 2016, xvi, 322 S. New York / Oxford: Berghahn Books 2015, S. 126– Inhalt: Foreword / David Kerekes. – Introduction: 141. Te Cultural Mythology of the Snuf Movie, Past and Present / Neil Jackson, Shaun Kimber, John- Howlet, Kathy: “Are you trying to make me ny Walker, & Tomas Joseph Watson. Part I: Te commit suicide?”: Gender, identity, and spatial Genesis and Persistence of Snuf: Cross Cultural arrangements on Kurosawa’s Ran. In: Contexts and Critical Reactions. – 1. Unfound Literature/Film Quarterly 24,4, Oct. 1996, S. 360– Footage and Unfounded Rumours: Te Manson 366. Murders and the Persistence of Snuf / Mark Jones & Gerry Carlin. – 2. A Murder Mystery in Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 10

Black and Blue: Astra Video and the Marketing sults indicate the need for further study of the ef- of Snuf in the UK / Mark McKenna. – 3. From fects of suicidal behavior portrayals on adoles- Snuf to the South: Transcultural Receptions of cent movie audiences. the Italian Cannibal Cycle / Xavier Mendik & Ni- colo Gallio. – 4. Animal Snuf: Te Critical Re- Jensen, Bjørn: Der Todesdiskurs in Wim Wenders’ ception of Weekend and Cannibal Holocaust / Si- Essay-flm Nick’s Movie – Lightning over Water. mon Hobbs. – Part II: Reel to Real?: Myths of Hamburg: diplom.de 2001, 108 S. Snuf in Production and Performance. – 5. Te Zugleich: Magisterarbeit, Ludwig-Maximilians- Snuf Filmmaker in Realist Horror / Neil Jackson. Universität München 1990. – 6. Home Made: Faces of Death and Traces of Nostalgia in Recent Amateur Horror / Johnny Karpf, Ernst / Kieserl, Doron / Visarius, Karsten Walker. – 7. It Was All Real, All of It: Refection- (Hrsg.): Kino und Tod. Zur flmischen Inszenierung ist Horror and the ’Snufumentary’ / Xavier Al- von Vergänglichkeit. Marburg: Schüren 1993, 137 S. dana Reyes. – 8. Why Did Tey Film It?: Faux (Arnoldshainer Filmgespräche. 10.). Snuf in Contemporary US Cinema / Shaun Kim- ber. – 9. Cinema as Snuf: Auteurist Meta-snuf Kearl, Michael C.: Death in Popular Culture. In: and the Murderous Gaze from German Expres- sionism to Shadow of the Vampire / Linda Bad- Death: Current Perspectives. Ed. by John B. Willi- ley. – 10. Te Bunny Game: Live Art and Film amson & Edwin S. Shneidman. 4th ed. Mountain Genre / Karolina Grushka. – Part III: Snuf, Afect View, CA: Mayfeld 1995, S. 23–30. and Selfhood. – 11. Te Afective Reality of Zuerst 1976. Snuf / Misha Kavka. – 12: Afect and the Ethics Auch in Kearls Endings: A Sociology of Death and of Snuf in the Films of the New Extremism / Ti- Dying. New York / London: Oxford University na Kendall. – 13. A View to a Kill: Perspectives Press 1989, S. 383–389. on Pseudo-Snuf and Self / Steve Jones. – Part IV: Snuf in the Twenty-frst Century: Circulation, Keitz, Ursula von: Figuren der (Aus-)Löschung: Consumption and Regulation. – 14. Watching Zum Bildfeld von Pest und Tod im deutschen Film Snuf: Online Reactions to the ‘3 Guys 1 Ham- um 1918. In: Der Umbruchsdiskurs im deutschspra- mer’ Internet Shock Video / Iain Robert Smith. – chigen Raum zwischen 1900 und 1938. Hrsg. von 15. Extreme Pornography and the Wider Politics Bernard Dieterle u. Daniel Meyer. Heidelberg: of Snuf / Clarissa Smith. – 16. Te Treat of Winter 2011, S. 139–161 (Beihefe zum Euphorion. Snuf / Julian Petley. 63.).

Jamieson, Patrick Edwin / Romer, Dan: Trends in Kerekes, David / Slater, David: Killing for Culture. Explicit Portrayal of Suicidal Behavior in Popular An Illustrated History of Death Film from Mondo to U.S. Movies, 1950–2006. In: Archives of Suicide Re- Snuf. London / San Francisco, Cal.: Creation search 15,3, 2011, S. 277–289. Books 1995, vii, 284 S. Trends in suicidal behavior portrayal in movies Rev. ed.: Killing for Culture: Death on Film and may refect greater societal acceptance of suicide the Enigma of Snuf. London: Headpress 2012, 336 with potential adverse efects on adolescents. To S. assess the potential for such adverse efects, ex- Fortsetzung: Kerekes, David / Slater, David: Kill- plicit portrayals of suicidal behavior and the rating for Culture: From Edison to ISIS – A New His- ings of flms were coded in top-grossing U.S. mo- tory of Death on Film. [London]: Headpress 2016, vies from 1950–2006 (N = 855). Suicidal behavior 626 S. portrayal in flms increased linearly from 1950 to [...] explores these images of death and violence, 2006. From 1968–1984, movies rated R by the and the human obsession with looking – and not Motion Picture Association of America had 5 looking – at them. Beginning with the mytholo- times more highly explicit suicide behavior por- gy of the so-called ‘snuf’ flm and its evolution trayals than did G/PG flms. Afer the adoption of through popular culture, this book traces death the PG-13 category in 1985, PG-13 and R flms and the artifce of death in the ‘mondo’ docu- were indistinguishable on this measure. Te re- mentaries that emerged in the 1960s, and later Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 11

the faux snuf pornography that found an audi- Kiener, Wilma: Leben und Sterben bei den Lein- ence through Necrobabes and similar websites. wandvölkern. Todesrituale im Spielflm. Berlin: However, it is when videos depicting the mur- Bertz + Fischer 2012, 202 S. (Medien/Kultur. 7.). ders of Daniel Pearl and Nick Berg surfaced in Rez. (Hans J. Wulf) in: Medienwissenschaf: Re- the 2000s that an era of genuine atrocity com- zensionen, 2–3, 2014, S. 275–284. menced, one that has irrevocably changed the way in which we function as a society. Kiening, Christian: Das andere Selbst. Figuren des Todes an der Schwelle zur Neuzeit. München: Fink Khapaeva, Dina: The Celebration of Death in Con- 2003, 262 S. temporary Culture. Ann Arbor: University of Mi- Allgemein. Inhalt: 1. Repräsentation und Imagi- chigan Press 2017, vi, 256 S. nation / 2. Lebendige Tote / 3. Das andere Selbst / Inhalt: Introduction: the paradoxes of death – 4. Begehren / 5. Privatheit und Innerlichkeit / 6. Te intellectual origins of the cult of death – Te Apokalypse. commodifcation of death: the social and historical perspectives – Te monsters and the humans King, Claire Sisco: Washed in Blood: Male Sacrifce, – Harry Poter, Tanya Grotter, and death in the Trauma, and the Cinema. New Brunswick, NJ: coming-of-age novel – Conclusion. Rutgers University Press 2012, x, 220 S. Over the last three decades, Halloween has Inhalt: Introduction. – 1. Reel Presence, Sacrifce, grown to rival Christmas in its popularity and and the Cinema. – 2. Unhinged Heroes and Al- proftability; dark tourism has emerged as a ra- pha Traumas. – 3. Free Falls in the 1990s. – 4. Re- pidly expanding industry; and funerals have be- makes, Resurrections, and Sacrifcial Returns. – come less traditional. “Corpse chic” and “skull Epilogue: Big-Screen Memories. style” have entered mainstream fashion, while elements of gothic, horror, torture porn, and Klastrup, Lisbeth: What makes World of Warcraf slasher movies have streamed into more conven- a World? A note on death and dying. In: Hilde G. tional genres. Monsters have become pop culture Corneliussne & Jill Walker Retberg (eds.): heroes: vampires, zombies, and serial killers now Digital appeal broadly to audiences of all ages. Tis book Culture, Play, and Identity: “A World of Warcraf” considers, for the frst time, these phenomena as Reader. Cambridge, Mass.: MIT Press 2008, S. 143– aspects of a single movement, documenting its 166. development in contemporary Western culture. Previous considerations of our fxation on death Klimmt, Christoph: Was ist die Funktion von Tod have not developed a convincing theory linking und Sterben in medialer Unterhaltung? In: Publi- the mounting demand for images of violent death zistik 54,3, 2009, S. 415–430. and the dramatic changes in death-related social Funktionen des Todes in unterhaltenden Fiktio- rituals and practices. Tis book offers a concep- nen. tual framework that connects the observations of the simulated world of fction and movies – in- Knox, Sara L.: Death, aferlife, and the eschatology cluding The Twilight Saga, The Vampire Diaries, of consciousness: themes in contemporary cine- Night Watch, Hannibal, and the Harry Poter se- ma. In: Mortality 11,3, 2006, S. 233–252. ries – to social and cultural practices, providing Defnitions of death and the experience of dying an analysis of the specifc aesthetics and the have signally changed in the last half century; a intellectual and historical conditions that trigger- change resulting, in part, from the sequestration ed the cult of death. It also considers the celebra- and medicalization of quotidian death. Tis arti- tion of death in the context of a longstanding cle explores the consequences of this for cultural critique of humanism and investigates the role representations of death (and its transcendence) played by 20th-century French theory, as well as in contemporary flm. A critical commentary on by posthumanism, transhumanism, and the ani- Mike Nichol’s flm Wit, Pedro Almodovar’s Talk mal rights movement, in the formation of the to Her, and Vincent Ward’s What Dreams May current antihumanist atmosphere. (Publisher). Come demonstrates how such flms express the complex collision of long-standing philosophical Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 12

and religious debates about human essence with of silenced mothers on their daughters invite utopic fantasies and dystopic fears about the na- critics to question her rigorous use of suicide as ture of consciousness; fears and fantasies shaped an aesthetic strategy. Tis essay comparing and by the medical reinvention of death. In becoming contrasting the three flms draws on Julia Kriste- discursively “locatable” (through the concept of va’s seminal work Black Sun (1989) to uncover brain death), death has gained a novel symbolic subplots and read suicide as a means to enhance anatomy that privileges the head, the face, and or rupture power constellations writen by pater- an imagining of the brain and its workings. Cur- nal law. rent screen representations of dying, death, and its transcendence evidence the preoccupation, LaFleur, William R.: Suicide of the Edge of Expli- culturally, with mechanisms by which individual cability: Awe in Ozu and Kore’eda. In: Film History identity may be preserved. Such texts conceptua- 14,2, 2002, S. 158–165. lize the nature of identity, and of human essence. Lenne, Gérard: La Mort à voir. Paris: Ed. du Cerf Koebner, Tomas: Sterben spielen. Aspekte einer 1977, 166 S. (7e Art. 63.). Standardsituation. In: Grenzsituationen spielen. Schauspielkunst im Film: Fünfes Symposium Lippit, Akira Mizuta: Te Death of an Animal. In: (2001). Hrsg. v. Bernd Kiefer u. Marcus Stiglegger. Film Quarterly 56,1, 2002, S. 9–22. Remscheid: Gardez! 2006, S. 35–54 (Filmstudien. Tis essay looks at the representation of animal 30.). death in cinema, beginning with some of the ear- liest recorded killings of animals, such as Tomas Krautkrämer, Florian / Fust, Philipp (Hrsg.): Tod Edison’s Electrocuting an Elephant (1903), to con- im Kino. [Temenhef der Online-Zeitschrif] temporary feature flms and documentaries that Daumenkino [2017], [URL]. depict scenes of violence toward animals. At Inhalt: Einleitung. – Tod im Kino(saal) / Florian stake in this essay is a challenge to the philo- Krautkrämer und Philipp Fust. – Tod und neues sophical axiom that animals cannot die: that be- Leben. Über Auferstehung, Wiederkehr und die cause animals lack language, they are incapable Überwindung traditioneller Zwänge im Frühen of knowing death, and thus of experiencing it as Kino im Film Zweimal gelebt von Max Mack / such. In cinema, the paradox takes on an added Heike Klippel. – Tod und Counterplay. Selbst- complexity, which arises from the nature of visu- mord im Computerspiel / Karin Wenz. – Das Me- al representation and photographic media. If ani- dium in der Krise: Das Geraune vom Tod des Ki- mals do not die, then why do so many animals nos und die Frage nach den Orten, an denen man appear to die in flms? Why do so many (impor- es inzwischen fndet / Malte Hagener. tant) flms feature the slaughter of animals? What is the relationship between animal death Kutenberg, Eva: Te Hidden Face of Narcissus: and flm? Suicide as Poetic Speech in Margarethe von Trot- ta’s Early Films. In: Women in German Yearbook: Lu, Francis G./ Heming, Gertrude: Te efect of Feminist Studies in German Literature & Culture the flm Ikiru on death anxiety and atitudes to- 20, 2004, S. 122–144. ward death. In: The Journal of Transpersonal Psy- Internationally acclaimed flmmaker Margarethe chology 19,2, 1987, S. 151–159. von Trota has inspired astute, psychoanalytical- ly informed scholarship that uniformly shies Mages, Gabriele I.: Phänomen eines medialen Kon- away from analyzing the taboo act that distingui- struktes. Die Darstellung des Todes im frühen deut- shes three of her early flms. Sisters, or the Bal- schen Film. Neuried: Ars Una 2001, 313 S. (Deut- ance of Happiness, Marianne and Juliane, and sche Hochschuledition. 119.). Sheer Madness are subtle portrayals of female suicides. Von Trota’s nuanced stagings of suicidal Maio, Giovanni: Zur fernsehmedialen Konstrukti- depression, fantasies, atempts, and postsuicide on von Bioethik. Eine Analyse der Gestaltungs- trauma; blunt depictions of the female corpse as merkmale von Fernsehdokumentationen über die monstrous feminine; and emphasis on the impact Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 13

Sterbehilfe. In: Ethik in der Medizin 12,3, 2000, S. Mishra, Vijay: Aferdeath and the Bollywood 122–138. Gothic Noir. In: Carol Margaret Davison (ed.): The Gothic and Death. Manchester: Manchester Uni- Malkowski, Jennifer: Dying in Full Detail: Mortali- versity Press 2017, S. 174–190 (Te International ty and Digital Documentary. Durham/London: Gothic Series.). Duke University Press 2017, x, 254 S. Missomelius, Petra (Hrsg.): ENDE. Mediale Insze- Malloy, Daniel P.: Self-termination: Suicide, self- nierungen von Tod und Sterben. Marburg: Schüren sacrifce, and The Terminator. In: „Terminator“ and 2008, 103 S. (Augenblick: Marburger Hefe zur philosophy: I’ll be back, therefore I am. Ed. by Rich- Medienwissenschaf. 48.). ard Brown & Kevin Decker. Chichester / Hobo- ken, N.J.: Wiley 2009, S. 190–201 (Blackwell Phi- Moebius, Stephan/ Weber, Tina: Tod im Film. Bei- losophy and Pop Culture.). trag über die mediale Repräsentation des Todes. In: Gesellschaf im Film. Hrsg. v. Markus Schroer. Margulies, Ivone: Delaying the Cut: Te Space of Konstanz: UKV 2007, S. 264–308. Performance in Lightning Over Water. In: Screen 34,1, 1993, S. 54–68. Monden, Masafumi: Contemplating in a dream- like room: The Virgin Suicides and the aesthetic Marschall, Susanne: Der letzte Augenblick. Ge- imagination of girlhood. In: Film, Fashion & Con- danken zum endgültigen Abschied im Kino. In: sumption 2,2, June 2013, S. 139–158. Film-Dienst, 23, 2003, S. 6–9. Sofa Coppola’s flm The Virgin Suicides (1999) Über die Standardsituation des „letzten Blicks“ in can be viewed as visualizing the (re)negotiation Szenen des Abschieds und Sterbens. process of the twinned aspects of girlish ‘autonomy’ and ‘restriction’. Although the flm’s referen- Marschall, Susanne: Letzte Augenblicke im Kino. ces to more established images of girlhood are Gedanken über flmische (Vor-)Zeichen des Ab- observable, its vague, narrative neutrality, sup- schieds. In: Augenblick: Marburger Hefe zur Medi- ported by cinematic aesthetics with a dreamy enwissenschaf, 43, Nov. 2008, S. 28–40. and melancholic efect, leaves their meanings largely unexplained. Connected to our contem- McInerney, Fran: Cinematic Visions of Dying. In: porary ideas about adolescence, femininity is generally linked to either pathological fragility or The Study of Dying: From Autonomy to Transfor- emphasized sexual assertiveness. I question the mation. Ed. by Allan Kellehear. Cambridge / New legitimacy of these binaries and instead read The York: Cambridge University Press 2011, S. 211– Virgin Suicides as a depiction of female complexi- 232. ty where the subtle complexity of the heroines contradicts these stereotypes. Instead of situating Meteling, Arno: Wiedergänger. Die flmische Le- on either polar of extreme assertiveness and fra- bendigkeit der Toten. In: Macho, Tomas / Marek, gility, Coppola presents her conception of adoles- Kristin (Hrsg.): Die neue Sichtbarkeit des Todes. cent girls as foating between these two. Te München: Fink 2007, S. 519–540. flm’s ethereal and maidenly aesthetics conveyed through the visual qualities of the Lisbon Sisters, Miczka, Tadeusz: O smierci na ekranie. Katowice: including the dresses they wear, efectively layer Slask 2013, 221 S. the girls’ sense of autonomy and sexual maturity, signifying the negotiation of idealizing, suppress- Milligen, Stephen: The Bloodiest Thing That Ever ing and empowering adolescent girls. Te tragic Happened in Front of a Camera: Conservative fate of the girls, on the other hand, limits the Politics, ‘Porno Chic’ and Snuf. London: Headpress flm’s capacity to ofer an alternative to the mo- 2015, viii, 289 S. nolithic idea of adolescent ‘girlhood’ and how it is visualized in our contemporary culture. Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 14

Moore, Kristen: The Grim Reaper, Working Stif: Das Motiv des Totentanzes in den Stummflmen the Man, the Myth, the Everyday. M.A. Tesis, Fritz Langs (15). – Susanne Kaul: Totentanz und Bowling Green State University 2006, v, 53 S., Zeichentrick. Filmkomik in Walt Disneys The [URL]. Skeleton Dance (31). – Viola Rühse: Sergei Eisen- In the second part of my thesis I move into an steins mexikanische danse macabre und ihre Re- analysis of common themes found in twentieth zeption in den flmtheoretischen Entwürfen von century popular culture appearances of Death, in Siegfried Kracauer (47). – Anke Zechner: Toten- movies such as Death Takes a Holiday, Meet Joe tanz mit Brautkleid. Die vergifete Gabe in Pier Black, and Bill and Ted’s Bogus Journey; the comic Paolo Pasolinis Medea (69). – Felix Lenz: Ameri- book Death Jr.; and the television series Dead kanische Totentänze. Terrence Malicks Badlands Like Me. We fnd in these examples Death engag- und dessen Echo in The Tree of Life (89). – Jean- ing in behavior as a common man, acting with Pierre Palmier: Choreografen des Todes in den the desire both to feel some sort of human con- Filmen von uuentin Tarantino (111). – Jessica nection and to assert himself as a unique indivi- Nitsche: „Te fear of life is the fear of death“. Die dual not restricted by the rules observed by those Konstellation von Tod, Fotografe und Film in around him. By appearing with increasing fre- Wim Wenders’ Palermo Shooting (127). – Bernd quency in popular culture, Death has insinuated Schneid: Interplanetarischer Totentanz. Das himself into our daily lives, not always noticed, ,Spiel im Spiel‘ vom Tod in Lars von Triers Film but present far more ofen than we realize. His Melancholia (153). – Daniel S. Ribeiro: WS oder character indicates our returning awareness of Geschmack am Leben. Der Tod im zeitgenössi- the undeniable naturalness of death, of death’s schen Dokumentarflm (173). – Tim Pickartz: In- inevitable presence within and efect upon our structions and Advice How to Shoot Today. Cho- everyday lives. reografen des Todes in bewegten und bewegen- den Bildern zeitgenössischer Video-Kunst (199). Niemiec, Ryan M. / Schulenberg, Stefan E.: Under- – Mariaelisa Dimino: Der Totentanz im elektroni- standing Death Atitudes: Te Integration of Mo- schen Unbewussten. Die Videokunst von Ales- vies, Positive Psychology, and Meaning Manage- sandro Amaducci (223). – Andreas Becker: Noti- zen zum Bon Odori (241). – Epilog. ment. In: Death Studies 35,5, 2011, S. 387–407. Te portrayal of death is one of the most common themes in movies and is ofen unrealistic, Parish, James Robert: The Hollywood Celebrity promoting misconceptions to the public. How- Death Book: From Theda Bara and Rudolph Valenti- ever, there are also many flms that portray death no to Marilyn Monroe and James Dean to Marlene acceptance in an instructive way. Such flms de- Dietrich and Brandon Lee, the Strange, Ofen Trag- pict the development of character strengths use- ic, Deathos [sic!] of Over One Hundred of America’s ful in embracing life and lessening death anxiety, Screen Idols. Las Vegas: Pioneer Books 1993, 236, namely zest, curiosity, self-regulation, and hu- [66] S. mor. Moreover, the role of meaning in flms is pi- votal for understanding death atitudes. Te au- Parish, James Robert: The Hollywood Book of thors discussed key elements in a number of pop- Death: The Bizarre, Ofen Sordid, Passings of More ular, independent, and international flms and Than 125 American Movie and TV Idols. Chicago, emphasized the use of flms as an important ad- Ill. [u.a.]: Contemporary Books // New York [u.a.]: junct for both teachers and clinicians addressing McGraw-Hill 2002, xii, 413 S. death atitudes with students and clients. A pro- Portions of this book have been previously pu- gram of death education using movies is briefly blished as Hollywood Death Book and Hollywood discussed. Celebrity Death Book. Te death of a celebrity is ofen as fascinating as Nitsche, Jessica (Hrsg.): Mit dem Tod tanzen. Tod – and sometimes more fascinating than – a star’s und Totentanz im Film. Unter Mitarb. v. Daniel S. actual life. From the grisly end of Sharon Tate at Ribeiro. Berlin: Neofelis Verlag [2015], 284 S. the hands of the Manson family and the mysteri- Inhalt: Wie der Film den Totentanz re-animiert. ous demise of Bob Crane to the peaceful passings Eine Einleitung (7). – Silke Hoklas: Todesbilder. of Lucille Ball and George Burns, The Hollywood Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 15

Book of Death is a captivating and appealingly refection, 3) the visual images used. Te main re- packaged volume of more than 125 television and sult of this comparison is that there are common movie stars’ fnal curtain calls. Arranged in an images, metaphors and techniques for the por- encyclopedic approach by manner of death, these trayal of death and mourning, and at the same well-researched accounts include details of ce- time signifcant distinctions in the representation lebrities’ colorful lives and unusual deaths, their of mortality in diferent media. funerals, and the intriguing afermath. With more than 100 rare photographs and a special Poppe, Sandra: Te Aesthetics of Death and “necrology” index of more than 6,000 stars and Mourning in American Literature and Film. In: directors, along with a section revealing where The Morbidity of Culture: Melancholy, Trauma, Ill- Hollywood personalities are resting in eternal ness and Dying in Literature and Film. Ed. by Ste- sleep, this enthralling reference promises to be phanie Siewert & Antonia Mehnert. Frankfurt [...]: on every flm and television buf’s “Top 10” gif Lang 2012, S. 105–118. list. Rauzi, Pier Giorgio / Gandini, Leonardo: La morte Perger, Mischa von: Der Tod als Spieler im Film. allo specchio. La morte secolarizzata nel cinema In: 12, 2011, S. 169–224. L’art macabre contemporaneo. Trento: Ed. de l’Invito 1997, 191 S. (uuaderni de l’Invito. 3.). Philipps, D[avid] P.: Te infuence of suggestion on suicide. Substantive and theoretical implica- Reinhartz, Adele: Dying for Our Sins: Jesus’ Pas- tions of the Werther efect. In: American Sociologi- sion on the Silver Screen. In: Engaging the Passion: 39, 1974, S. 340–354. cal Review Perspectives on the Death of Jesus. Ed.: Yarbrough, Tis paper shows that suicides increase immedi- O.L. Minneapolis: Fortress Press [2015], S. 311– ately afer a suicide story has been publicized in 332. the newspapers in Britain and in the United States, 1947–1968. Te more publicity devoted to a suicide story, the larger the rise in suicides Ricciardi, Alessia: The Ends of Mourning: Psycho- thereafer. Te rise in suicides afer a story is re- analysis, Literature, Film. Stanford, CA: Stanford stricted mainly to the area in which the story University Press 2003, x, 266 S. (Cultural Memory was publicized. Alternative explanations of these in the Present.). fndings are examined; the evidence indicates Inhalt: Part One: Narratives of Mourning – Te that the rise in suicides is due to the infuence of Twilight of Mourning – Cool Memories – Part suggestion on suicide, an infuence not previous- Two: Frames of Mourning – Heretical Specters – ly demonstrated on the national level of suicides. Godard’s Histoire(s). Te substantive, theoretical, and methodological implications of these fndings are examined. Richard, Birgit: Todesbilder. Kunst, Subkultur, Me- dien. München: Fink 1995, 303 S. Poppe, Sandra: Ästhetik der Sterblichkeit. In: Kul- Zugl.: Essen, Univ., Diss., 1995. turPoetik 8,2, 2008, S. 223–234. Death and mourning are signifcant and frequent Ross, T[heodore] J.: Death and deliverance in the topics in art, literature, and other media. Tey of- western: From The Virginian to The Man Who Shot ten have highly diferentiated aesthetic represen- Liberty Valance. In: Quarterly Review of Film Stud- tations, which are present throughout popular as ies 2,1, 1977, S. 75–87. well as established art forms. Tis phenomenon was recently described as the new „Sichtbarkeit“ Russell, Catherine: Decadence, violence and the of death in the arts. But what does this new „vi- decay of history: Notes on the spectacular repre- suality“ look like? Tis article analyses and com- sentation of death in narrative flm, 1965 to 1990. pares diferent forms of representation of mortal- In: Crisis Cinema: The Apocalyptic Idea in Postmod- ity in literature and television on the basis of ern Narrative Film. Ed. by Christopher Sharret. contemporary examples. Te categories of analy- Washington: Maisonneuve Press 1993, S. 173–201. sis employed are 1) temporality, 2) emotion and Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 16

Russell, Catherine: Narrative Mortality: Death, Schmidt, Kurt W.: Sterben und Tod im Spielflm. Closure, and New Wave Cinemas. Minneapolis, In: Schwierige Entscheidungen – Krankheit, Medi- MN: University of Minnesota Press 1995, vii, 271 zin und Ethik im Film. Hrsg. v. Kurt W. Schmidt, S. Giovanni Maio u. Hans Jürgen Wulf. Frankfurt: Teilw. zugl.: New York: New York University, Haag + Herchen 2008, S.159–173 (Arnoldshainer Diss., 1990. Texte. 129.). Über die Bedeutung des Todes in den Enden er- Gekürzt in: TV Diskurs 11,3 [=41], 2007, S. 46–53. zählender Filme. Inhalt: Introduction: Narrative Mortality / 1 – 1. Schneider, Norbert: Der Tod am Abend. Wie in Beyond Pleasure: Lang and Mortifcation / 31 – 2. den Medien gestorben wird. In: epd medien, 65, Wim Wenders: Film as Death at Work / 67 – 3. 2003, S. 6–17. Oshima Nagisa: Te Limits of Nationhood / 105 – 4. Jean-Luc Godard: Allegory of the Body / 137 – Schrödl, Barbara: Strahlenweiße Wäsche, weibli- 5. American Apocalypticism: Te Sight of the che Unschuld, das Wirtschafswunder und der Crisis / 173 – Conclusion: Te Senselessness of Tod. Weibliches Sterben in einem deutschsprachi- Ending / 209. gen Spielflm der 1950er Jahre. In: Das „letzte Hemd“. Zur Konstruktion von Tod und Geschlecht Saddington, John: The Representation of Suicide in in der materiellen und visuellen Kultur. Hrsg. v. Ka- the Cinema. Ph.D. Tesis, York: University of York, ren Ellwanger, Heidi Helmhold, Traute Helmers, 2010. Barbara Schrödl. Bielefeld: Transcript 2010, S. Abstract in: Index to Theses with Abstracts 61– 9438. 193–214 (KörperKulturen.). Discusses, among others, Robert Siodmak’s and Don Siegel’s versions of The Killers as well as So- Schultz, Ned W. / Huet, Lisa M.: Sensational! Vio- fa Coppola’s The Virgin Suicides. lent! Popular! Death in American Movies. In: Omega. Journal of Death and Dying 42,2, 2000–01, Sansot, Pierre: La mort au palmares de mass me- S, 137–149. dia. In: Actions et Recherches Sociales, 3, 1985, S. Tis study examined death as portrayed in diffe- 35–41. rent types of American flm. Death events were Über die „Teatralisierung des Todes“. scored for number and type, use of death words, demographic characteristics, 23 diferent actions of instigators, and 24 reactions of recipients. Saporiti, Angelo: Mysterium mortis: Dalla sacralità Trained observers scored 25 popular flms, 16 al senso. Il tema della morte come provocazione alla popular/award flms, and 24 award flms. Te . Diss., Romae: Pont. teologia nel cinema moderno predominant depictions of death were atacks by Univ. Gregoriana 1996, 305 S. weapon, threats, risks and conversations. Most common reactions in death scenes were fear, Scharf, Friedhelm: Straccis makabrer Tod. Zu Ge- shock, protest and aggression. ANOVA compari- sellschafskritik und Bildsprache in Pier Paolo Pa- sons across the three types of flms showed that solinis La Ricota. In: L’art macabre, 11, 2010, n.p. popular and popular/award flms contained signifcantly more sensational death actions, such as Schiappa, Edward / Gregg, Peter / Hewes, Dean: non-weapon atacks, threats of death, close calls, Can a television series change atitudes about risks taken, and accidents. Award flms were sig- death? A study of college students and Six Feet nifcantly more likely to include scenes of rou- Under. In: Death Studies 28,5, 2004, S. 459–474. tine, medical death events. No signifcant diferences in use of language were found. Instigators Schlicht, Burghard: Peng, peng, bumm – umfallen in death scenes were six times more likely to be tot. In: Filmfaust 16, 1979, S. 11–14. males. Female characters were nearly twice as Zu Halloween und Assault on Precinct 13. likely to be recipients as instigators. ANOVA comparisons indicated that reactions involving escape, fear, no harm, relief, and ambiguity were Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 17

signifcantly more common in popular and popu- Sedney, Mary Anne: Maintaining connections in lar/award flms. Award flms, on the other hand, children’s grief narratives in popular flm. In: included signifcantly more expressions of sor- American Journal of Orthopsychiatry 72,2, 2002, S. row and sadness. Comparisons based on audi- 279–288. ence rating (G, PG, PG-13, and R) showed no sig- Children’s grief narratives in popular flms were nifcant diferences in the number of death examined for their portrayal of connection-main- scenes and virtually no signifcant diferences in taining strategies with the deceased. Compari- specifc death actions or reactions. Te results sons were made between strategies found in ac- present a disturbing picture of death in movies, tual parentally bereaved children and in child one described as psychologically obscene. In characters in flms. Implications of these flmed American flm, death is distorted into a sensa- grief narratives for models of grieving and for tional stream of violent atacks by males, with practice are discussed. fear, injury, further aggression, and the absence of normal grief reactions as the most common re- Shepatin, Mathew: Film deaths. In: The Enlighten- sponses. ed Bracketologist: The Final Four of Everything. Ed. by Mark Reiter & Richard Sandomir. New York: Schwab, Jan Tilman: Selbstmord im Film – Ver- Bloomsbury / Holtzbrinck Publishers 2007, ch. 33. such einer dramaturgischen Typologie. In: Schwie- rige Entscheidungen – Krankheit, Medizin und Sieber, Sharon: A syntax of symbols in the repre- Ethik im Film. Hrsg. von Giovanni Maio, Kurz W. sentation of death and dreams: Death as simultan- Schmidt u. Hans Jürgen Wulf. Frankfurt: Haag + eity in Siesta and Jacob’s Ladder. In: Journal of the Herchen 2008, S. 183–198 (Arnoldshainer Texte. Fantastic in the Arts 14,1, 2003, S. 86–99. 129.). Siewert, Stephanie / Mehnert, Antonia (Hrsg.): Sconce, Jefrey: Spectacles of Death. Identifcation, The Morbidity of Culture. Melancholy, Trauma, Ill- Refexivity, and Contemporary Horror. In: Film ness and Dying in Literature and Film. Frankfurt Theory Goes to the Movies. Ed. by Jim Collins. New [u.a.]: Lang 2012, 162 S. York [...]: Routledge 1993, S. 103–119 (AFI Film Vgl. v.a. Sandra Poppe: Te Aesthetics of Death Readers.). and Mourning in American Literature and Film (105–118). Sedney, Mary Anne: Children’s grief narratives in popular flms. In: Omega: The Journal of Death and Snaufer, Douglas: The Show Must Go On: How the Dying 39, 1999, S. 315–325. Deaths of Lead Actors Have Afected Television Se- Children’s grief narratives, conceptualized as ries. Jeferson, NC: McFarland 2008, ix, 218 S. portrayals of the grief process in children, in A powerful, behind-the-scenes look at some of popular flms are examined. Four flms focus this America’s all-time favorite television programs study: Snow White, Bambi, The Land Before Time, during their darkest hours, this study examines and The Lion King. Tese flms refect a range of how various hit series have absorbed the death of acknowledgment of death and descriptions of a lead actor during production (Publisher). grief in their young characters. Tey also vary in the extent to which they are consistent with tra- Sobchack, Vivian C.: Te violent dance: A person- ditional models of grief that emphasize detach- al memoir of death in the movies. In: Graphic Vio- ment and contemporary models that focus on the lence on the Screen. Ed. by Tomas R. Atkins. New importance of ongoing connections with the de- York: Monarch Press 1976, S. 79–94. ceased. Tese flms are consistent in their por- Zuerst in: Journal of Popular Film 3,1, 1974, S. 2– trayal of the availability and usefulness of sup- 14. port and comfort for grieving children. Tey are also uniform in their presentation of possibilities for hope and some forward development afer Sobchack, Vivian: Inscribing Ethical Space. Ten loss. Use of popular flms for children’s death Propositions on Death, Representation, and Docu- education and for grief education is discussed. mentary. In: Quarterly Review of Film Studies 9,4, Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 18

1984, S. 283–300. 33–54.

Söller, Alexandra: Der Tod in der Literatur und sei- Stollfuß, Sven: Der Tod als (medien-)ästhetisches ne flmische Inszenierung am Beispiel der Literatur- Fragment. Zur Inszenierung toter Körper im CSI: verflmungen Rainer Werner Fassbinders. Frankfurt Crime Scene Investigation. In: Augenblick: Marbur- [u.a.]: Lang 2001, 264 S. (Beiträge zur deutschen ger Hefe zur Medienwissenschaf, 43, Nov. 2008, S. Literatur. 2.). 61–72.

Sörries, Reiner: Öfentliches Sterben – ein Plädoyer Sullivan, Daniel / Greenberg, Jef (eds.): Death in für Intimität. Kevelaer: Topos plus Verlagsgemein- Classic and Contemporary Film: Fade to Black. New schaf 2014, 190 S. (Topos-Taschenbücher. 867.). York / Basingstoke: Palgrave Macmillan 2013, viii, Rez. (Tina Weber) in: Medien & Alter, 5, 2014, S: 263 S. 92–93. Mortality is a recurrent theme in flms across genres, periods, nations, and directors. Tis book Stack, Steven: Audience receptiveness, the media, brings together an accomplished set of authors and aged suicide, 1968–1980. In: Journal of Aging with backgrounds in flm analysis, psychology, Studies 4,2, 1990, S. 195–209. and philosophy to examine how the knowledge of death, the fear of our mortality, and the ways Stack, Steven / Bowman, Barbara: Suicide Movies: people cope with mortality are represented in Social Paterns 1900–2009. Cambridge, MA / Göt- cinema. tingen: Hogrefe 2012, x, 298 S. Inhalt: 1. Introduction: When the Lights Go Down / Daniel Sullivan and Jef Greenberg – 2. A Terror Management Analysis of Films from Four Stack, Steven / Lester, David: Suicide and the Crea- Genres: The Matrix, Life is Beautiful, Iron Man 2, tive Arts. New York: Nova Science Publishers 2009, and Ikiru / Jef Greenberg and Alisabeth Ayars – x, 328 S. (Psychology Research Progress Series.). 3. Mortality Salience in Apocalyptic Films / Joel Includes: Suicide in movies : gender and choice of Lieberman and Mark Fergus – 4. Litle Murders: suicide method / Steven Stack & Barbara Bow- Cultural Animals in an Existential Age / Sheldon man – Suicide flms about adolescents / Burcu Solomon and Mark J. Landau – 5. Icons of Stone Sevim – Pain and altruism : the suicides in John and Steel: Death, Cinema, and the Future of Emo- Wayne’s flms / Steven Stack & Barbara Bowman tion / Jennifer L. McMahon – 6. Consumed in the – Suicide motives in 61 works of popular world Act: Grizzly Man and Frankenstein / Kirby Farrell literature and comparison to flm / Steven Stack – 7. Black Swan/White Swan: On Female Objecti- & Barbara Bowman. fcation, Creatureliness, and Death Denial / Jamie L. Goldenberg 8. Death, Wealth, and Guilt: An Stapf, Ingrid: Der Tod und die Medien. Überlegun- Analysis of There Will be Blood / Daniel Sullivan gen zu ethischen Aspekten und Kriterien einer – 9. Te Birth and Death of the Superhero Film / Bildethik. In: Zeitschrif für Kommunikationsökolo- Sander L. Koole, Daniel Fockenberg, Matie Tops, gie und Medienethik 8,1, 2006, S. 57–64. and Iris K. Schneider – 10. Bergman and the Switching of of Lights / Peter Cowie – 11. Death Steinborn, Bion: Tod im Kino. Zur Dramaturgie in the Films of Stanley Kubrick / Susan White – des Todes auf der Leinwand. In: Filmfaust 16, 12. Haneke’s Amour and the Ethics of Dying / 1979, S. 3–10. Asbjørn Grønstad (185–196) – 13. Visions of Death: Native American Cinema and the Trans- Steinle, Mathias: „No one ever dies“. Burleske formative Power of Death / Jennifer L. McMahon und Tod. In: Augenblick: Marburger Hefe zur Me- – 14. From Despair and Fanaticism to Awe: A dienwissenschaf, 43, Nov. 2008, S. 41–51. Post-traumatic Growth Perspective on Cinematic Horror / Kirk J. Schneider – 15. Conclusion: Cin- Stewart, Garret: Tresholds of the Visible – the ematic Death Benefts / Daniel Sullivan and Jef Death Scene of Film. In: Mosaic 16,1–2, 1983, S. Greenberg. Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 19

Tagliabue, Carlo (a cura di): La fatal quiete. La schen Fernsehserie Six Feet Under. In: Die neue rappresentazione della morte nel cinema. Torino: Sichtbarkeit des Todes. Hrsg. v. Tomas Macho u. Lindau 2005, 285 S. (La via latea.). Kristin Marek. Paderborn/München: Fink 2007, S. 541–557. Termine, Liborio: L’ideologia della morte nel cinema dell’Espressionismo. In: Cinema Nuovo 26, Webster, Patrick: Love and Death in Kubrick: A Novv./Dic. 1977, S. 432–450. Critical Study of the Films from „Lolita“ through „Eyes Wide Shut“. Jeferson, N.C.: McFarland 2011, Tomson, David: Death and its details. In: Film x, 323 S. Comment 29,5, Sept.-Oct.1993, S. 12–18. Rev. (Sperb, Jason) in: Film & History 43,1, Spring On the representation of dying and death in re- 2013, S. 42–44. cent flm. Tis text explores the auteur’s legacy, specifcally positioning his body of work within the context Todtenhaupt, Anja: Suicidal Squirrels. Derbes Ge- of cultural theory. A single chapter is devoted to sterbe im Zeichentrickflm. In: Augenblick: Mar- each of Kubrick’s seven flms. Atention is paid burger Hefe zur Medienwissenschaf, 43, Nov. to the role of love and death in Kubrick’s flms, 2008, S. 73–81. emphasizing his innovative exploration of love and sex, and the portrayal of mortality via mas- Tulloch, John: Images of Dying and the Artistic culine violence. Role. Ingmar Bergman’s Wild Strawberries. In: Australian Journal of Screen Theory, 2, 1977, S. 33– Welsh, James M.: Strong Medicine at the Movies: 61. A Review. In: Literature and Medicine 12,1, 1993, S. 111–120. Wada, Maho: Stille Gewalt. Inszenierungen des To- des in den Filmen von Takeshi Kitano. Berlin: Avi- Wende, Johannes: Der Tod im Spielflm. Eine exem- nus 2005, 102 S. (Avinus Academia.). plarische Analyse. München: edition text + kritik 2014, 410 S. Wasserman, Ira M. / Stack, Steven / Reeves, Jim- Inhalt: Inhalt – Der personifzierte Tod im Spiel- flm – Die Toten im Spielflm – Der Tod in der mie L.: Suicide and the media: Te New York Dramaturgie – Die Darstellung des Sterbens im s presentation of front-page suicide stories Times’ Film – Das Ende. between 1910 and 1920. In: Journal of Communi- Rez. (Klaus Feldmann) in: Medien & Alter, 5, 2014, cation 44,2, 1994, S. 64–83. S: 90–91.

Weathers, Stephen: Death with Dignity: Comita- White, Susan: Kubrick and death. In: Death in tus in Sam Peckinpah’s ‘New Western’. In: West- Classic and Contemporary Film: Fade to Black. Ed. erns. Paperback novels and movies from Hollywood. by Daniel Sullivan and Jef Greenberg. New York / Ed. by Paul Varner. Newcastle: Cambridge Schol- Basingstoke: Palgrave Macmillan 2013, S. 167–184. ars 2007, S. 103–111. Wildfeuer, Janina / Schnell, Martin W. / Schulz, Weber, Gregor J.: Jeder tötet, was er liebt. Liebes- Christian: Talking about dying and death: On new und Todesszenen in den Filmen Alfred Hitchcocks. discursive constructions of a formerly postulated Marburg: Schüren 2007, 112 S. taboo. In: Discourse and Society 26,3, 2015, S. 366– Rev. (Wojtko, Nikolaj) in: Medienwissenschaf, 3, 390. 2007, S. 360–361. In this article, we pursue a critical and multimod- On the relationship between sexuality and death al discourse analysis of texts in the context of the in Hitchcock’s flms. innovative German discourse project ‘30 young people talk to dying people and their relatives’ – Weber, Tina: Codierungen des Todes. Zur flmi- an initiative by two German universities en- schen Darstellung von Toten in der amerikani- couraging young people to develop an explicit at- Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 20

titude towards death. We take a detailed look at Auch in: Medien und Altern, 5, 2014, 24–40. the various text forms (short flms about discus- Tod und Sterben sind in den Erzählungen des Ki- sions between the young people and dying pa- nos in den narrativen Kontext eingebunden. Sie tients, online postings about their experiences, sind thematische Grundlage einer ganzen Reihe etc.) by asking how the concepts of ‘dying’ and von formelhaf gewordenen Motiven, die sich ih- ‘death’ are new and diferently constructed in rerseits historisch verändern. Die Erzählungen these various textual artefacts. A formal as well lassen sich entzifern als modellhafe Vorstellun- as critical analysis of the semantic content pro- gen, die Tod und Sterben als sinnhafe Elemente duced by the participants will examine how this des Lebenslaufs erfassen und of als Schließun- content is produced and how new types of socio- gen einer Biographie, als fnale Übergänge und cultural practices become visible in these texts. als letzte Erfahrungen ausgelegt sind.

Wilson, Emma: Love, Mortality, and the Moving Wulf, Hans J.: Begrabt mein Herz an der Biegung Image. Basingstoke / New York: Palgrave Macmil- des Flusses: Narrative Funktionsbindungen des lan 2012, ix, 184, [8] S. Motivs „Leichenüberführung“ im Spielflm. In: tà In their use of home movies, collages of photo- katoptrizómena – Magazin für Kunst, Kultur, Theo- graphs and live footage, moving image artists ex- logie und Ässthetik, 96, 2015, [URL]. plore the wish to see dead loved ones living. Tis study closely explores emotions and sensations Wulf, Hans J.: Sterbehilfe im populären Diskurs surrounding mortality and longing, with new des Films. Temen und Dramaturgien. In: Jahr- readings of works by Agnès Varda, Pedro Almo- buch für Medizin und Literatur 8, 2016, S. 145–162. dóvar, Ingmar Bergman, Sophie Calle, and many Bis in die späten Dekaden des 20.Jahrhunderts others. mag die Idee des selbstverantworteten Sterbens ein Tabu gewesen sein, das „natürliche Sterben“ Wiehe, Roger E.: Of Art and Death: Film and Fic- unhinterfragte Tatsache der Realität. Die Filme tion Versions of Death in Venice. In: Literature/ des Sterbehilfe-Korpus belegen, dass diese Set- Film Quarterly 16,3, 1988, S. 210–215. zung in den letzten dreißig Jahren durchlässig und gesellschaflicher Diskurs geworden ist. Withalm, Gloria: Leichen im Film – Motive, Handlungskontexte und Repräsentationsmuster: Wulf, Hans J.: Phantastische Tanatologie. Von Von Arsenic and Old Lace bis Zombie. In: Stefenel- lebenden Toten, der Verfuchung der Lebenden li, Norbert (Hrsg.): Körper ohne Leben. Begegnung und später Rache: Die Mumien der Filmgeschich- und Umgang mit Toten. Wien: Böhlau, S. 294–305 te. In: tà katoptrizómena – Magazin für Kunst, Kul- (Kulturstudien.). tur, Theologie und Ässthetik, 105, 2017, [URL].

Wortmann, Tomas: Der Tod und die Leinwand. Zaller, Robert: Rituals of Death in Postwar Ameri- Zeitkritik und selbstrefexive Momente in Ingmar can Film. In: New Orleans Review 17,4, 1990, S. 80– Bergmans Siebentem Siegel. In: in: L’art macabre 87. 11, 2010, S. 289–302. Zwierzchowski, Piotr: Spektakl i ideologia. Szkice Wulf, Hans J.: Zwischen Unermesslichkeit und o flmowych wyborazeniach smierci heroicznej. Sinnentwürfen: Alter, Sterben und Tod im Film. Kraków: Wyd. Rabid 2006, 226 S. In: tà katoptrizómena: das Magazin für Kunst, Kul- Rev. (Patrycja Dziubczynska) in: Zeszyty Nauko- tur, Theologie und Ässthetik 17,93, 2015 [Temen- we Uczelnianej Rady Doktorantów Uniwersytetu hef: „Kultur“], [URL]. Kazimierza Wielkiego 3,2, 2014, S. 54–56.