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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 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Todesbilder im Film. Eine Arbeitsbibliographie. Westerkappeln: DerWulff.de 2018 (Medienwissenschaft: Berichte und Papiere 177). DOI: https://doi.org/10.25969/mediarep/12811. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0177_18.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft Berichte und Papiere 177, 2018t Todesbilder im Film Redaktion und Copyright dieser Ausgabe: Hans J. Wulf. ISSN 2 !!"!#$#. %R&: h'p:((beri)hte.der*ulf.de($+,,-+..pdf. &et0te Änderung: 1+.12.2$+,. Todesbilder im Film !ine Arbeitsbiblio#raphie $usammen#estellt %on &ans ' (ul) *as Forschun#sfeld 3od kann /riede;oll sein5 plöt0li)h oder endlos, hero" isch oder erb6rmli)h5 schmerzlos oder Qu6lend5 ein" 2ass der 3od ni)ht nur eine medi0inische5 sondern sam oder im >reise der Ramilie. 3od ist ni)hts ?in" au)h eine kulturelle 3atsa)he ist5 ist sp6testens seit heitli)hes, sondern ausge/altet in eine /ast unCberseh" Ari7s8 9berlegungen 0ur :eschi)hte des 3odes kultu" bare Aielfalt der Rormen des Sterbens. ?s gibt Stereo" rologische Selbst;erst6ndli)hkeit. 3od ;erändert si)h typen und /ormelhaBe ?rz6hlungen5 die das %nsagba" in seinen ;erschiedenen <odellierungen und Sinnho" re des Sterbens ICr die &ebenden 0ugängli)h ma)hen5 ri0onten historisch und ist in die di;ersen Sinn" und es erklären und auslegen5 es in *eitere >ontexte ein" :laubenssysteme je*eiliger >ulturen eingepasst. ?r betten und als sinnloses oder sinnhaBes, abruptes *ird narrati;isiert und dramatisiert5 mit :eschi)hten und uner*artbares5 /atales oder logisches ?nde der umstellt5 in immer neuen >ontextualisierungen aus" &ebenserz6hlung usw. /assbar ma)hen. 3od *ird gelegt und in Aerbindung mit der :esellschaB5 dem man)hmal 0um Neginn einer Reise5 das Sterben 0u :lauben5 indi;iduellen &ebensent*Crfen oder au)h einer 3ransformation oder 0u einem 9bertri' oder der :e*alt gebra)ht5 als :egenCber der &iebe be" au)h 0um >ollaps und Eusammenbru)h ;on Hand" stimmt und als ?rfahrung tie/sten Aerlustes )harakte" lungsma)ht und Selbstkontrolle. <edi0inisches gerät risiert. %nd in den >Cnsten ist er ein Dema Cber die dann mit Ssy)hologischem und >ulturelle4 0usa4" Eeiten hin*eg. 2er ?nt*urf ;on Sinnhori0onten ist men5 4it Spirituellem oder ReligiPse45 4it Shiloso" eine basale kulturelle &eistung. Wie andere anthropo" phische4 oder 1sthetischem. ?s mag 0u den ureigen" logische 3atsa)hen menschli)hen &ebens *ird er in sten &eistungen der >Cnste re)hnen5 dass sie sol)he kulturellen >on0eptualisierungen ge/asst5 als heroi" elementaren 3atsa)hen des indi;iduellen und gesell" scher5 süFer5 beiläuGger 3od; ;iellei)ht au)h als 3od schaBli)hen &ebens *ie den 3od thematisieren. Na" ICr andere5 als demonstrati;er oder stellvertretender tCrli)h behandelt au)h der Rilm den 3od ;on Neginn 3od5 sogar als &iebestod; und man)hmal ni44t er an. selbst :estalt an5 im 3otentan05 als JS)hni'er 3odK oder au)h als ?ngelsfgur. >on0eptualisierungen des Wie oben schon bemerkt: ?s bedarf der >ontextana" 3odes sind rhi0omatisch"net0*erkartige >omplexe lyse5 *enn man an die >ulturalit6t des 3odes si)h an" des Lindi;iduellen5 ;or alle4 aber des kollekti;enM n6hern *ill. 2as :ros der ;orliegenden %ntersu)hun" Wissens, u4/assen ein medi0inisches Sa)h*issen5 gen en'6uscht gerade in dieser Tualit6t O *eil Quan" Nilder und :eschi)hten5 ?rklärendes und Neschrei" titati;e Inhaltsanalysen gerade diesen5 oB sehr ko4" bendes, philosophische und theologische Auslegun" plexen5 Eusammenhang kaum erfassen kPnnen5 *eil gen5 die mit dem 3ode ;erbundenen Ritualisierungen ?in0elanalysen 0*ar im ?in0elfall die man)hmal und ?motionen glei)hermaFen Lund ICr den ?in0el" hP)hst eigenst6ndigen Auslegungen5 die ein Rilm ;or" nen kommt ;iellei)ht Selbsterlebtes da0u O aber au)h schlägt und ausprobiert5 au/spCren kPnnen5 dann das ist ihm nur 0ugängli)h unter Nut0ung jenes *ei" aber *iederum *enig generalisierbar sind Lund >on" teren Hori0onts des WissensM. 0eptualisierungen des 3odes oder des Sterbens nur in einer Abscha'ung erfassenM5 *eil /a)hdis0iplin6re Eugänge Let*a theologischer5 philosophischer oder Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 2 ikonographischer ArtM dur)h die Auslegeordnun" creasing possibilities /or5 the disruption o/ this gen ihrer Heimdis0iplinen beschränkt sind und distance. With the ;arious crises o/ )urrent times, man)hmal die Aielgestaltigkeit und Heterogenit6t be they economi)5 environmental or regional5 des Wissenskomplexes Lder eben au)h ?lemente such possibilities /or this disruption, and the al" der Sopulärkultur mit"u4/asstM selbst kau4 0u re" tered dynamics o/ human conne)tion that they konstruieren ;ermögen. represent5 can only gain in signiGcance. Aaron5 <i)hele: Death and the Moving Image: Ide- 2as /olgende Aerzei)hnis listet die bis heute 0u" ology, Iconography and I. ?dinburgh: ?dinburgh gängli)hen %ntersu)hungen 0u den 3odes->on" %ni;ersity Sress 2$+#5 i@5 2X! S. 0eptionen au/ so*ie eine ausge*6hlte An0ahl ;on 2arin u.a.: Watching Zthers 2ie: Spectatorship5 %ntersu)hungen 0ur Analyse des Sui0ids und 0ur Aulnerability and the ?thics of Neing <o;ed5 S. 3odesstra/e im Rilm. >Crzere Artikel *urden ni)ht +XXO+,.. O Te Cinemati) &anguage of 2ying5 S. [[O+2!. O Grammar &essons: 2ying and 2ifer" au/genommen5 längere und ?in0elflmanalysen ence5 S. +2,O+X#. nur dann5 *enn sie ;on methodische4 Interesse sind. <eist sind die 3itel spre)hend. Im ?in0el/all Aaron5 <i)hele: Cinema and sui)ide: Ne)romanti" *urde eine >urzannotation beigegeben. )ism, dead"already"ness, and the logi) o/ the ;an" ishing point. In: Cinema Journal X 525 Winter 2$+#5 S. ,+O[2. *ie Biblio#raphie 2iscusses especially SoGa Coppola’s The Virgin uicides and Hany Abu"Assad8s !aradise No#. UVW 2ank gilt Jessi)a Nitsche ICr ihre Hin*eise. Aebischer5 Sascale: Sha$espeare%s Violated &odies: Aaron5 <i)hele Led.M: Envisaging Death: Visual tage and creen Per'ormance. Cambridge5 %> ( Culture and Dying. Ne*)astle upon 3yne: Ca4" Ne* \ork: Cambridge %ni;ersity Sress 2$$ 5 xiii5 bridge S)holars Sublishing 2$+ 5 i@5 2#X S. 22+ S. KAd;ancedY society has been characterised by an Inhalt: Te gravedigger8s daughter: a story o/ loss increased distancing o/ death /rom the e;eryday5 O Filling the empty space O (itus )ndronicus: and its distortion or invisibility *ithin the publi) spe)tacular obscenities O 8Not dead] not yet Quite sphere. Te essays collected here return some dead]8: *amlet8s unruly corpses O <urderous shape and conte@t5 and geo"politics, to the treat" male moors: gazing at race in (itus )ndronicus ment o/ death and dying *ithin contemporary and +thello O ?n"gendering ;iolence and sufer" )ulture5 and speciGcally *ithin contemporary ;i" ing in King -ear O Solly goes to Holly*ood: a sual culture *hich pro;ides an e;er 4ore domi" su)cess story. nating /orum /or society8s depiction of and deal" Tis study looks at the ;iolation o/ bodies in ings *ith death. Charting important ne* inter" Shakespeare8s tragedies, especially as re;ealed disciplinary terrain, scholars and practitioners Lor concealedM in per/ormance on stage and /rom a *ide range o/ Gelds address an assort" screen. Sascale Aebischer discusses stage and ment o/ )ultural mediations o/ real5 G)tional or screen per/ormances o/ (itus )ndronicus, *amlet, G)tionalised death. Tey na;igate5 in diferent +thello and King -ear *ith a ;ie* to sho*ing *ays, the /raught5 poli)ed5 but al*ays relati;e5 how bodies *hich are ;irtually absent /rom both distance bet*een the li;ing and the dead *hich playtexts and critical discourse Ldue to silence5 characterises these mediations, a distance *hich disability5 4arginalisation, racial otherness or *orks, inevitably5 to reassure and re-se)ure those deathM )an be prominent in per/ormance5 *here supposedly untouched by death and dying. ?n;i" their representation refects the )ultural and poli" saging 2eath5 *hether through dis)ussion o/ the ti)al )limate of the production. Aebischer /ocuses cemetery landscape5 the still or mo;ing image5 on post"+[.$ Royal Shakespeare Company and the therapeuti) or educational art practice5 ad" Royal National Teatre productions but also co" dresses how such a distance is rein/orced. It also5 ;ers Glm adaptations and landmark productions crucially5 e@plores countless cases o/5 and in" /rom the nineteenth century onwards. Her book Todesbilder im Film // Medienwissenschaft, 177, 2018 /// 3 *ill interest scholars and students of Shakes" Spring +[.,5 S. 2O# . peare5 gender5 per/ormance and cultural studies Nerman5 Alan &.: Ri)tional 2epi)tion o/ Sui)ide in LSublisherM. 3ele;ision Rilms and I4itation ?fe)ts. In: The )merican Journal o' Psychiatry +#X5 +[..5 S. [.2O Ari7s, Shilippe: Geschichte des (odes. <Cn)hen( [.!. Wien: Hanser +[.$5 .22 S. Nurleigh5 <i)hael: (od und Erl9sung. Euthanasie in Arnhei45 Rudolf: 2er 3od im Rilm. In: Rudolf Deutschland :;<<41945. ECri)h(<Cn)hen: Sendo Arnhei45 ,riti$en und )u's/tze zum 1ilm. Hrsg. ;. 2$$25 #2X S. Helmut H. 2iederi)hs. <Cn)hen: Hanser +[,,5 S. 2arin >ap. !: <ord im Angebot: 2er Film als + XO+ ,. <ittel der Sropaganda ICrs 3öten, S. 2++O2XX. Euerst in &erliner (age2lat5 Nr. !++ ;. 2X.+2. +[ 2. Euerst engl.: Death and Deliverance: ?Euthanasia@ Repr. in Arnheims Die eele in der ilberschicht. in .ermany, :;<<4:;=>. Cambridge / New \ork / Frank/urt: Suhrkamp 2$$#5 S. +22O+2#. <elbourne: Cambridge %ni;ersity Sress +[[X5 @;ii5 .2 S.
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