Faculty of Humanities

Assisted Dying in Documentaries

A rhetorical analysis of the perspective of three documentaries on assisted dying and their connection to the social and political debate in the countries of production.

Terry Pratchett: Choosing to Die (2011)

Dignitas, La Mort sur Ordonnance (2010)

Nachtvlinder, de laatste dagen van Priscilla (2013)

Name: Britt van Teijlingen Supervisor: Dhr. dr. F.A.M. Laeven E-mail: [email protected] Second reader: Dhr. S. Scholz Student number: 10795790 Programme: MA Media Studies: Television and Cross-media Culture University of Amsterdam Date of completion: 26 June, 2015 Table of Contents

Preface p. 3

Introduction p. 4

Chapter one: Euthanasia Laws p. 7

Chapter two: Euthanasia Debate p. 10

Chapter thee: Theoretical Framework and Method p. 16

Chapter four: Analysis Terry Pratchett: Choosing to Die p. 23

Chapter five: Analysis Dignitas: La Mort sur Ordonnance p. 35

Chapter six: Analysis Nachtvlinder, de laatste dagen van Priscilla p. 47

Conclusion p. 57

Bibliography p. 61

Appendix one: Segment analysis Terry Pratchett: Choosing to Die p. 65

Appendix two: Segment analysis Dignitas, La Mort sur Ordonnance p. 82

Appendix three: Segment analysis Nachtvlinder, de laatste dagen van Priscilla p. 105

!2 of !114 Preface

I would like to thank all those who have contributed to the realization of this thesis. Since it is not possible to thank everyone personally, I will limit myself to those who were most important. First, I would like to thank my supervisor Erik Laeven who has helped me throughout the writing process.

His comments and critical eye have helped me constantly to improve my thesis, and his effort and time were very valuable. Secondly, I would like to thank my family and friends for their support, and in particular my partner Tjebbe for his unconditional support, as well as my friend and fellow student Marike for all her help.

!3 of !114 Introduction

Last year at the IDFA 2014, the International Documentary Festival Amsterdam, multiple documentaries on the topic of euthanasia or assisted suicide were shown. It was striking that most of these documentaries were produced in Belgium and the Netherlands; two countries where euthanasia is legalized. This gave rise to some questions. I wondered if the current situation of assisted dying in Europe triggers filmmakers to deal with this social issue. How is the topic of assisted dying approached in these documentaries, and is this the same for all European countries? I decided to research documentaries on assisted dying to gain insight into what kind of documentaries are produced on this topic and how they are related to the social, political and legal status of assisted dying in the countries of production.

Documentaries have always been used to debate social issues and to provide a distinct perspective on those issues (Nichols 19,101). The philosopher Aguayo states that documentary film has demonstrated engagement with audiences and has sometimes prompted critical deliberation and activism (33-34). Documentaries have been a source of agitation in the rising tide of social unrest (Aguayo 33-34). Recently, documentaries have often functioned as a springboard for public argument in practice, according to Aguayo (33-34).

Documentaries can be produced in response to a political and social debate. But the documentary itself can contribute to the debate as well. The more closely a documentary film is connected to a social movement, the more effective the documentary is in the process of social change, according to Aguayo (221). Quite often the public debate is put into motion following a provocative documentary. This happened, for example, with the Dutch documentary Dood op

Verzoek (Maarten Nederhorst 1993). The debate on euthanasia was going on for some time already, but the government tried to stay out of it as much as possible. The majority of the population supported euthanasia, but it was not allowed according to Dutch law. However, euthanasia already happened in secret. The documentary showed the euthanasia of Cees van

Wendel. The film approached it from a very supportive perspective. This was a rather radical move at the time and the documentary therefore received a lot of response, both in the

Netherlands and abroad. The documentary is still seen as one of the most important driving forces behind the debate on euthanasia in the Netherlands and abroad (npo.nl). This particular case shows that the perspective of a documentary can be heavily influenced by the social and political debate. But in turn, the documentary itself can also contribute to the debate. Therefore, analyzing documentaries becomes very valuable if we involve the social and political debate in

!4 of !114 our research. This knowledge provides a better understanding of the documentary. It also creates the opportunity to place the documentary into a broader context. Especially with documentaries on such a debated topic as assisted dying, we should not separate the documentary from its context. The combination of researching the legal, social and political context of euthanasia and the documentaries dealing with this social issue tells us a lot about the state of affairs on assisted dying in different countries and about the role documentaries can play in such debates. Many analyses of documentaries do not place them in a broader social context, but usually only in the context of other media. Since documentaries and the legal, political and social context often influence each other, it is of scientific interest to include this. Through this research, I hope to provide a different perspective on documentary research and demonstrate the relevance of researching this combination.

During this research, three documentaries on assisted dying will be analyzed. However, not all documentaries cover the same form of assisted dying. There are different forms of assisted dying or ending someone’s life through medical treatment. In the case of euthanasia, a physician administers the means of death, usually through a lethal drug. This is only allowed in the

Netherlands, Belgium and Luxembourg. Another way of assisted dying is through assisted suicide.

In this case the patient carries out the procedure himself, with the assistance of a physician. This often means that medical staff prepares a lethal drug, like a drink, but the patient has to take it himself. This form of assisted dying is allowed in Japan, Colombia, Albania, Germany, Switzerland and in the American states of Washington, Montana, Oregon, Vermont and New Mexico.

With the selection of three Western European countries I will cover all the different legal situations in Europe regarding euthanasia. I will analyze one documentary from each country. I will analyze Terry Pratchett: Choosing to die (2011) from the United Kingdom, Dignitas, La Mort sur

Ordonnance (2010) from Switzerland, and Nachtvlinder, de laatste dagen van Priscilla (2013) from the Netherlands. These three were chosen as they are the most recent full-length documentaries on assisted dying. Often in media research, a corpus of older films is chosen which makes it possible to place the analyzed films into the broader media discourse. I chose to research the most recent documentaries because I do not intend to place them in the broader media discourse, but in their legal, political and social context. I wanted to analyze the current social, political and legal situation since this context is constantly changing. And as I witnessed at the

IDFA 2014, this current context led to a large amount of documentaries in the past few years. A

!5 of !114 corpus of the most recent documentaries is the most suitable for providing information about this current situation.

Since assisted dying has been a heavily debated subject in Europe for decades, with a lot of documentaries having been produced on this subject, it is interesting to research what kind of perspective on assisted dying those documentaries provide and how this is related to the legal, political and social situation. Therefore, my research question is: How do documentaries on assisted dying from the United Kingdom, Switzerland and the Netherlands persuade the viewer to adopt a certain perspective on assisted dying and how does this position these documentaries in the social and political debate on assisted dying in the countries where they were produced?

To understand how the documentaries position themselves in the social and political debate, I have to set out this debate through a discourse analysis, which is done in chapter two.

However, we cannot have a clear view of this debate without knowing the legal situation of assisted dying in the different countries. Therefore, I will first analyze the legal situation regarding assisted dying in the different countries in chapter one. After researching both the legal status and the social and political situation, a hypothesis on the perspectives in the documentaries will be formed in chapter three. In chapter four the theoretical framework and the method for the film analyses will be set out. I will use a rhetorical framework to analyze the different documentaries. I will approach the documentaries in this research as rhetorical instruments that provide a certain argument on assisted dying. However, I am aware that documentaries are certainly not always rhetorical instruments, but for analyzing the perspective of the documentary rhetoric offers a very valuable framework, as will be explained further in chapter four. In chapters five, six and seven the documentaries will be analyzed. Finally I will provide a conclusion in which the findings on the different documentaries will be connected, which will be linked back to how documentaries and the social and political debate are interwoven. In the conclusion the research questions will be answered, and some recommendations for further research will be made.

!6 of !114 Chapter one: Euthanasia Laws

To analyze how the social debate on euthanasia influenced the documentaries on assisted dying that we will analyze later, the social debate on assisted dying in these countries has to be set out first. However, we can only understand the social and political debate if we know the legal situation of assisted dying in these countries. The documentaries to be analyzed later on will very likely deal with this legal situation in a certain way. They might be produced to change the laws, or maybe they support the legal situation. Therefore it is important to understand the different legal situations to get a better understanding of the documentaries.

The selection of countries for this thesis is mainly based on the legal situation of assisted dying at the moment the documentaries were produced. This is between 2010 and 2013, depending on the country. There are three different legal situations of assisted dying in Europe.

First, there are countries in which all forms of assisted dying are prohibited. Then there are countries in which assisted suicide is allowed, but euthanasia is prohibited. The third legal situation is when euthanasia is legalized. To create a representative conclusion, I will analyze documentaries from different countries, each with one of the three legal situations. First, I will analyze a documentary from the United Kingdom, where assisted dying in general is prohibited. In

Switzerland, only assisted suicide is legalized. Therefore the analysis contains one documentary from Switzerland as well. And finally, I will analyze one documentary from the Netherlands where euthanasia is legalized. In the following paragraphs I will provide an overview per country of the laws that determine the legal situation regarding euthanasia. This overview is constructed by researching the penal codes of each country and, if existent, the specific laws on assisted dying.

Two different books on the history of assisted dying have also been taken into account.1

§ 1.1 United Kingdom

In the United Kingdom there is no special law on euthanasia. The provision for murder from the penal code is applied in cases of euthanasia. Article 149 (1) states that “Any person who, of malice aforethought express or implied, causes the death of another person by an unlawful act or

1 No laws on assisted dying have been established on a European level. Some cases from different European countries were directed to the ECHR, The European Court of Human Rights. Some proponents of assisted dying claim that the denial of a right to release oneself from unbearable pain amounts to inhuman and degrading treatment (Article 3 of the European Convention on Human Rights). Opponents of assisted dying often claim that article 2 of the European Convention on Human Rights, ‘the right to life’, also means that we should protect life by not allowing assisted dying (Puppinck and de La Hougue). !7 of !114 omission is guilty of murder” (The Penal Code United Kingdom art. 149(1)). Article 151 states that

“Any person who is convicted of murder shall be liable to imprisonment for life” (The Penal Code

United Kingdom art. 151). In the United Kingdom, there is a specific law on assisted suicide or, more specifically, aiding and abetting suicide. Article 158 (1) states: “any person who aids, abets, counsels or procures the suicide of another, or the attempt by another to commit suicide, shall be guilty of an offence and liable to imprisonment for fourteen years” (The Penal Code United

Kingdom art. 158 (1)).

§ 1.2 Switzerland

In Switzerland, euthanasia is prohibited. However, assisted suicide is legal. Article 115 of the Swiss

Criminal Code, which came into effect in 1942, is dedicated to inciting and assisting suicide. “Any person who for selfish motives incites or assists another to commit or attempt to commit suicide is, if that other person thereafter commits or attempts to commit suicide, liable to a custodial sentence not exceeding five years or to a monetary penalty” (Swiss Criminal Code art. 115). This means that if there are no selfish motives involved, assisted suicide is not prohibited. If any selfish motives are involved, article 112 for murder is applied: “Where the offender acts in a particularly unscrupulous manner, in which the motive, the objective or the method of commission is particularly depraved, the penalty is a custodial sentence for life or a custodial sentence of no less than ten years” (Swiss Criminal Code art. 122). Active euthanasia is not allowed. Article 114, which was established in 1937, focuses on killing on demand. “A person who, from respectable esp. merciful motives, kills someone who seriously and urgently demands to be killed, will be sentenced to a term of imprisonment of up to 3 years or a fine” (Swiss Criminal Code art. 114). It is thus only allowed to assist someone in committing suicide, not to perform active euthanasia.

Also, Switzerland is the only country that does not ban foreigners, which leads to many foreigners coming to Switzerland to have an assisted suicide (Humphry 8).

§ 1.3 The Netherlands

In the Netherlands, deliberately killing someone is punished by imprisonment of up to fifteen years or a fine of the fifth category, as stated in article 287 of the Dutch Penal Code (Wetboek van

Strafrecht art. 287). If the killing is intentional it is called murder, which is punished with imprisonment for life or up to thirty years or a fine of the fifth category, as stated in article 289 of the penal code. Article 293 (1) states that ending someone’s life on his explicit and earnest

!8 of !114 request will be punished with imprisonment of up to twelve years or a fine of the fifth category

(Wetboek van Strafrecht art. 293 (1)). Article 293 (2), however, states that this is not prosecutable if it is done by a doctor who fulfills the requirements as stated in article two of the law on the termination of life upon request and assisted suicide (Wet toetsing levensbeëindiging op verzoek en hulp bij zelfdoding) and if the doctor informs the local coroner (Wetboek van Strafrecht art. 293

(2)). This law on euthanasia was enacted on 12 April 2001 (Wet toetsing levensbeëindiging). The law gives strict conditions that a doctor has to meet in order to allow euthanasia (Wet toetsing levensbeëindiging art. 2 (1)). It is only allowed if the doctor: a. Is convinced that the patient’s request is voluntary and deliberate. b. Is convinced that it is a case of hopeless and unbearable suffering for the patient. c. Informed the patient about the situation of the patient and his prospect. d. Arrived, together with the patient, at the conviction that there was no other reasonable

solution for this situation. e. Has at least consulted one other independent doctor who saw the patient and has given their

written judgment on the requirements, as stated in ‘a’ to ‘d’ above. f. Has carried out the procedure of euthanasia or assisted suicide with medical care.

Thus, in the Netherlands, both euthanasia and assisted suicide are allowed. This is the case for both physical and psychological suffering. The patient has to be a competent adult or a competent minor without guardians.

!9 of !114 Chapter two: Euthanasia Debate

Now that we know the legal situation of euthanasia in the countries concerned, we can set out the social debates on this topic. This is very important in order to understand our analysis of the documentaries later on. A chronological overview of the social debate up to the moment of documentary production is provided below, including the most influential cases and events. This overview is constructed through a discourse analysis. Archives of newspapers have been important sources. The archives of the most influential newspapers of each country have been searched for as many articles on assisted dying as possible. Then, a selection of articles was made, based on their topics. The cases and events that stood out in the newspapers, and were therefore likely to be of particular importance, are included in this overview. Besides newspaper articles, two important books on the history of euthanasia have been used: The Good Euthanasia

Guide (2008) by Derek Humphry, a British-born American journalist, author and past president of the World Federation of Right to Die Societies, and Een Weloverwogen dood (2002) by James

Kennedy, a historian. Both these books offer a good picture of the debate over the past centuries in different countries. Because these books were produced several years before the documentaries, the period not covered in the books has been given extra attention in my current research. Finally, television programs and films, both documentary and fiction, have been taken into account. Analyzing how many and what kinds of films and programs have been produced on assisted dying provides insight into the position audiovisual media take up in the debate in the different countries. Information about earlier produced audiovisual media on assisted dying has been found through the Ergo organization, the euthanasia research & guidance organization, to which Derek Humphry also belongs. Their website gives a clear overview of most of the films and television programs on assisted dying (finalexit.org). The Dutch website thisistheend.nl also provides a clear overview of documentaries and films on assisted dying (thisisitheend.nl).

§ 2.1 The United Kingdom

In the United Kingdom, where assisted dying is prohibited, there is a lot of debate going on surrounding the subject of assisted dying. This already started in the thirties, when assisted dying movements were founded (Kennedy 63). This debate continued and in the sixties the first legislative proposal to allow euthanasia was submitted to the House of Lords. This proposal was rejected (Kennedy 63). In 1962 the first film on assisted dying was released (thisistheend.nl). The thriller I Thank a Fool by Robert Stevens is about a doctor named Christine who is prosecuted for

!10 of !114 murder after helping someone end their life. In 1996 the docudrama Goodbye my Love by

Richard Signy, about journalist Derek Humphry, was released (thisistheend.nl). Derek Humphry, as stated above, played a big role in the debate on passive and active euthanasia. The film is about his life during the time when his wife becomes terminally ill. The film mainly focuses on the negative aspects of his life. Humphry distanced himself from the film and accused the film of mistakes and over- simplifications. In 1978 the play Whose Life is It Anyway played in London. It was about a young artist who became quadriplegic (Humphry 134). The play raised questions about the right to die. In this same year the book Jean’s Way was published by Derek Humphry. In this book he describes how he helped his terminally ill wife to die (Humphry 134-135). In 1983

Arthur Koestler, a famous author, committed suicide a year after publishing his reasons. He was terminally ill with leukemia. His healthy wife decides to commit suicide with him (Humphry 136). In

1980 in Oxford the World Federation of Right to Die Societies was formed. It was comprised of 27 groups from 18 nations. The debate went on for years, and became very intense in the last few years.

In 2008 Mary Warnock, one of Britain’s leading moral philosophers, called for liberalization of euthanasia laws (Syal). Warnock is a peer of the House of Lords, the upper house of the

Parliament of the United Kingdom (parliament.uk). This happened after the death of the 23-year- old Daniel James, a paralyzed rugby player. His parents took him to a clinic in Switzerland for assisted suicide. Afterwards, the parents were interrogated for their actions and it caused debate on whether they should be charged or not. Eventually the parents were not prosecuted because

“such a prosecution is not in the public interest”. There were no further actions taken against them (Starmer). Warnock argues that “we have a moral obligation to other people to take their seriously reached decisions with regard to their own lives equally seriously” (Syal). Her arguments on euthanasia are rather rebellious. She claims that people suffering from dementia should consider ending their lives through euthanasia because of the strain they put on their families and public services (Beckford). These statements were not received lightly. She was called irresponsible and unnerving (Beckford).

The case of Daniel James is not the only case in which a patient went to Switzerland for assisted suicide and caused a debate upon his death. Up until 2009 more than 100 people from the UK went to the clinic of Dignitas Switzerland, which opened in 1998, to end their lives (Morris).

Research in 2009 showed that 82% of the general public was in favor of the legalization of euthanasia, while 62% was in favor of assisted suicide. This contrasts with only 34% of the doctors

!11 of !114 in the United Kingdom in favor of the legalization of euthanasia, and 35% in favor of assisted suicide (Boseley). All these cases put a lot of pressure on the government to act, especially when former health secretary Patricia Hewitt called for a change in the law (Boseley). There were also a lot of opponents, many of whom were religious people.

The first documentary on assisted dying, I Helped my Daughter Die by Ray Tostevin, dates back to 2010 (thisistheend.nl). This is a short documentary about Kay Gilderate who helped her daughter Lynn of 31 die after 17 years of extreme illness. Kay was accused of murder and the documentary follows her to court and speaks with her about the night she helped her daughter die. The documentary won three awards. From 2010, Terry Pratchett played a big role in this debate. He wrote a lot of blogs on assisted dying, and eventually he worked on his own documentary in 2011 (Pratchett). After this documentary the comedy series Way to Go by Jeff

Greenstein was released (thisistheend.nl). The series exists of six parts and is about the brothers

Scott and Joey and their friend Cozzo. When Scott finds out that his neighbor wants to end his life, Cozzo and Scott decide to help by building a suicide machine. This series found a lot of resistance from the Care Not Killing Organization. They accused the BBC of applauding assisted dying. The London Daily Mail also reported on hundreds of complaints in response to the BBCs positive approach of assisted suicide in the previous years.

There are explicit arguments in favor of and against euthanasia in the United Kingdom.

The same arguments rise in every debate. The NHS, National Health Service, sets out these arguments very clearly (nhs.uk). Arguments in favor of euthanasia and assisted suicide include the ethical claim that people should have a freedom of choice, including the right to control their body and life. The pragmatic argument is also used intensively: euthanasia is allegedly already a widespread practice, so it is better to regulate euthanasia properly. Arguments against euthanasia and assisted suicide include the religious claim that ending someone’s life is against the will of

God and is sinful. There is also the Slippery Slope argument, which is based on the concern that legalizing euthanasia could lead to unintended changes in the British healthcare system and society at large, that people would later come to regret. According to the medical ethics argument, asking doctors, nurses or any other healthcare professional to carry out euthanasia or to assist in suicide would be a violation of fundamental medical ethics. Lastly, there is the alternative argument: there is no reason for a person to suffer either mentally or physically because effective end-of-life treatments are available. Therefore euthanasia is not a valid

!12 of !114 treatment option, but represents a failure on the part of the doctor involved in a person’s care

(nhs.uk).

§ 2.2 Switzerland

In the beginning of the 20th century, Ernst Hafter, a criminal law expert and Zurich professor, considered that assisting in suicide should only be penalized if it was done with a selfish motive

(Burkhardt and La Harpe 410). In 1918 the text of what is now Article 115 was implemented in the draft of the Swiss Penal Code, representing Hafter’s statement (Burkhardt and La Harpe 410). The

Parliament did not make any amendment to this provision, which entered into force in 1942

(Burkhardt and La Harpe 410). Ever since, assisted suicide has been legal in Switzerland. At this time assisted suicide was still forbidden in all other countries and sometimes it was not even a topic of debate yet. But even before the law was passed in 1942, assisted suicide already took place without prosecution (Burkhardt and La Harpe 410). Once the law came into force, more and more people decided to end their lives through assisted suicide (Burkhardt and La Harpe 410).

The organization Exit, ‘Die Vereinigung für humanes Sterben’, was founded in 1982 with the help of lawyers, doctors and nurses (Shapowal 13). The main argument of Exit is that in 10% of the cases even the most modern medicine or surgery cannot offer sufficient pain relief, causing unbearable and inhuman suffering (Shapowal 13-14). Exit receives a lot of criticism. Opponents claim that the duration of the dying process is too short. In 23% of 43 cases there were no more than seven days between the first contact between Exit and its patient and the day of the treatment. In 9% of these cases, the decision was taken only within a day (Shapowal 14-15). The population of Switzerland is in favor of assisted suicide, and even of euthanasia, as long as it is regulated and monitored. A survey carried out in 1999 showed that 80% of the population approved assisted suicide (Burkhardt and La Harpe 412).

The political debate on assisted suicide started around 1990 (Burkhardt and La Harpe 413).

Throughout this period several governments have tried to have the law amended with regard to assisted suicide, either in favor of or against this practice (Burkhardt and La Harpe 413). In 2006 the first film on assisted dying was produced, the documentary Exit: Le Droit De Mourir (Exit: The right to die). The documentary focuses on the relationship between the patients and the volunteers of Exit (thisistheend.nl). In 2007 the fictional drama Hello Goodbye by Stefan Jager was released. The film is about Melina and her terminally ill father (thisistheend.nl). On 17 June

2009 the Bundesrat, the federal Council of Switzerland, organized a debate on euthanasia. This

!13 of !114 debate was on the topic of legal restrictions of euthanasia, and especially on banning organizations such as Exit or Dignitas (humanrights.ch). In response, Exit argued that according to a study conducted in April 2009, 74% of the respondents support the current regime and the legalization of assisted suicide (humanrights.ch). The Federal Council then decided not to modify the Swiss Penal Code concerning assisted suicide (Burkhardt and La Harpe 410). At this time, in

2010, the documentary Dignitas, La Mort sur Ordonnance was released, which will be analyzed in this study.

The main debate in Switzerland focuses on ‘suicide tourism’ (Belluck). The organization

Dignitas allows foreign patients to commit assisted suicide at their clinics. Most suicide tourist clients come from the United Kingdom, Germany, and France (Belluck). The resistance to assisted dying in Switzerland mainly originates from other countries, such as the United Kingdom. Up until now, Switzerland has not changed the rules on assisted suicide for foreigners, despite foreign criticism. Although there has been some debate on the topic of assisted suicide, direct active euthanasia has not yet been on the agenda in Switzerland (Belluck).

§ 2.3 The Netherlands

The debate in the Netherlands has been going on since long before the euthanasia law was introduced. However, compared to the European debate, which was going on for almost a century, the Netherlands was relatively late. This was partly a result of the religious pillarization, which started to diminish in the second half of the sixties (Kennedy 62). The debate really started in 1969, after the publication of Medische macht en medische ethiek by psychiatrist Jan Hendrik van den Berg (Kennedy 63). From this moment on, the debate grew more and more in the

Netherlands. In 1975 the Dutch Voluntary Euthanasia Society (NVVE) launched a Members’ Aid

Service to give advice to the dying. In the first year they already received 25 requests for aid

(Humphry 134). In 1997 the organization had more than 90,000 members. 900 of them requested help in dying from the Members’ Aid Service (Humphry 144). There are several cases of unofficial terminations of life by doctors or family that led to trials, but the suspects were almost never convicted. An example is the case of doctor Truus Postma, who helped her terminally ill mother of

78 die by giving her a deadly dose of morphine. Postma was sentenced to a week conditionally, which showed that the judicature already anticipated the legalization of euthanasia (Schoots).

Several surveys showed that the majority of the Dutch population supported euthanasia under certain conditions (Humphry 144).

!14 of !114 As a result of resistance from Christian parties, the law on euthanasia was not changed until 2002 (Schoots). In 2003 the Dutch Society for Voluntary Euthanasia achieved its goal and changed its name to Right-To-Die-NL (Humphry 147). After the legalization of euthanasia, the debate did not end. There were several proposals for easing the conditions of the legalization of euthanasia. For instance, in 2012 citizens proposed to legalize assisted dying for elderly who do not want to live any further, even if they do not physically suffer. Most political parties negatively assessed this proposal, although 62% of the population supported the proposal (Voortman).

Political parties feared that easier conditions would lead to too big an increase of people wanting assisted dying (Voortman).

The Netherlands has produced the most films on assisted dying in Europe. 54 films have been produced from 1983 up until Nachtvlinder, the documentary from 2013 that will be analyzed in this study. 32 of these 54 films were documentaries. 8 of the 54 were short films, one is an animated movie, 10 are drama films and 3 are drama comedies (thisistheend.nl). Only seven of these films were released before the legalization of euthanasia in the Netherlands.

Up until the moment of production of the documentary Nachtvlinder in 2013, Christian parties and organizations still protested to euthanasia. They protested against easing the conditions of euthanasia, such as allowing euthanasia for elderly and children.

§ 2.4 Hypothesis Understanding the legal, political and social situation, it is now possible to construct a hypothesis about the perspectives in the documentaries to be analyzed later on. The expectation is that all the documentaries’ perspectives are proponent, or at least open to the supporters of assisted dying. Since the majority of the population in each country supports assisted dying, it is likely that the documentaries function as representative of the public opinion. The research showed that contra-sounds to assisted dying often stem from political parties, the Senate or Christian parties.

The history of documentaries on assisted dying shows that the perspectives on assisted dying are mostly supporting, or at least neutral, but never opposing it. Of course this is not a guarantee that the documentaries that will be analyzed in this study will contain the same perspective. I expect all the perspectives to be heavily influenced by the social and political debate. This debate will likely be involved in the documentaries as well.

!15 of !114 Chapter three: Theoretic Framework and Method

§ 3.1 The perspective of the documentary

Documentaries are no objective films; they always contain a certain perspective (Nichols 68). This perspective shapes the entirety of the film’s audiovisual presence, though framing, sequencing, layering sound and other examples of the editing process (Aguayo 170). This is especially the case with creative documentaries, more so than with journalistic documentaries. Documentaries can make claims, propose perspectives and evoke feelings (Nichols 68). Several definitions for the concept perspective are used by different theorists, such as ‘the voice of the documentary’ by

Nichols. As Nichols describes it: the voice of the documentary is each film’s specific way of expressing its way of seeing the world (68).

The perspective of the documentary is often related to the opinion of the filmmaker about a certain subject. But in this research, the interest is not in the opinion of the filmmaker as a person, but in the perspective that is provided through the documentary. The perspective often originates from a larger group than the filmmaker himself, the whole production team has a part in it and the perspective is often interwoven with the context of the documentary. Since it is not just one person who is responsible for constructing the perspective, the concepts of ‘authorship’ or

‘modes of representation’ will not be used in this study. The research will not be done using the filmmaker as a starting point, but using the documentary itself as the starting point instead. By starting with analyzing the film itself, we can determine which perspective the documentary contains and how this is constructed.

§ 3.2 Rhetoric

To analyze how the documentaries provide a perspective, we have to analyze how the images of the documentary construct meaning, or an argument. Kress and van Leeuwen argue in their book

Reading Images: The Grammar of Visual Design (1996) that compositional structures of images are used to produce meaning (1). By combining depicted people, places and things, you can construct a visual statement.. This visual communication can take place in many visual works, such as illustrations, advertisements and mass media. To analyze these visual works, using the theory of the visual rhetoric is a popular method (Scott 252). The rhetoric has traditionally focused on the power of the word as it is enacted in public context. Aristotle defined rhetoric as: “the faculty of discovering all the available means of persuasion in any given situation.” A more modern, more extensive definition is: “rhetoric is the art or the discipline that deals with the use of discourse,

!16 of !114 either spoken or written, to inform or persuade or motivate an audience, whether that audience is made up of one person or a group of persons (Corbett 1).”

More recently, increasing attention has been devoted to the rhetoric of the images, or what is being called “visual rhetoric” (Lucaites and Hariman 37). The combination of film and rhetoric has been researched in several studies, such as the relatively old study on audiovisual rhetoric in written fiction, by Willem Hesling in 1985 (Hesling). Blakesley provides a definition of

‘film rhetoric’: “The visual and verbal signs and strategies that shape film experience” (Blakesley

3). The visual rhetoric can be used to analyze and interpret visual texts’ persuasive strategies

(Gries 439). Gries states that visual rhetoric can shape the social, and the social can shape the visual rhetoric in turn (Gries 439). Therefore, Gries states that we should decode texts to shed light on how images contribute to contemporary public discourse. Visual rhetoric is an interpretative theory that frames a message as an interested party’s attempt to influence an audience, as Scott states (252). Visual elements are very important in influencing this audience.

The selection of specific style elements can rhetorically communicate a certain argument (Scott

253). Choosing a certain style will persuade the viewer in a different way than another style would have done. Images thus can be a very powerful means of communication to influence an audience.

As stated before, documentaries can persuade the viewer into adapting a certain perspective on social issues. This perspective is provided by meaningful images. Visual statements can be made in documentaries as a form of visual communication. To analyze and interpret the persuasive strategies in the documentaries on assisted dying, visual rhetoric offers a very valuable framework. One of the academics who argues this is the previously mentioned

Angela Aguayo in Documentary Film/Video and Social Change: A Rhetorical investigation of

Dissent (79). She states that “Documentary film can be regarded as rhetorical by performing many of the actions for which language is used such as warning, asserting, identifying, informing, ridiculing and critiquing” (76).

Bill Nichols also focuses on the value of the rhetorical framework in documentaries in his book

Introduction to Documentary. He describes rhetoric as “the form of speech used to persuade or convince others about an issue for which no clear-cut, unequivocal answer or solution exists” (63).

He claims that the different aspects of rhetoric are also applicable to documentaries. Medhurst and Benson also use a rhetorical framework to analyze a documentary. They state that “the meaning of an image in the film is constructed by the viewer not only from the content of the shot

!17 of !114 but also from the situation, the structural relation of shots to one another and the other dimensions of the film, and from the rhythm of the cutting” (58). It is therefore very valuable to analyze how a documentary visually constructs an argument.

The study of rhetoric is divided into five parts or departments: inventio, dispositio, elocutio, memoria and pronuntiatio (Corbett 17). In modern English we can translate this as: invention, arrangement, style, memory and delivery. These departments can be used when analyzing documentaries. The departments memory and delivery relate to the public, not to the perspective of the film. Since the perspective of the documentary is central in this study, and we will not be able to analyze the public, those two departments will be disregarded.

§ 3.2.1 Invention

The first department, invention, refers to proof or the discovery of evidence to support an argument (Corbett 17). This concept of ‘proof’ is broader than scientific proof, and can also relate to social conventions. Aristotle distinguished between three types of proof: ethos, pathos and logos (Nichols 79).

1. Logos: the rational appeal (Corbett 18). This type of artistic proof offers convincing or

demonstrative proof (Nichols 79). In this type of proof, the narrator, or filmmaker in our case,

‘argues’ with its audience (Nichols 79). The rational appeal is appealing to the audience’s

reason or understanding (Corbett 18).

2. Pathos: the emotional appeal (Corbett 18). This type of proof offers compelling or emotional

proof (Nichols 79). The will of people is often more swayed by emotions than by their reasons.

The emotional appeal uses this function of emotional proof. The narrator or filmmaker can use

emotional proof to put the audience in the right mood or to establish a frame of mind

favorable to a particular view (Nichols 79).

3. Ethos: the ethical appeal (Corbett 19). This type offers credible or ethical proof. In this type of

proof, the narrator or filmmaker ingratiated himself or herself with an audience. They thereby

gained their trust and admiration by creating the impression that he or she is a person of

intelligence, benevolence and probity (Corbett 19). This proof generates an impression of

good moral character or credibility for the filmmaker, witnesses, authorities, and others

(Nichols 79).

!18 of !114 § 3.2.2 Arrangement

The second part of rhetoric, dispositio, is the division concerned with the effective and orderly arrangement of the parts of the written or spoken discourse (Corbett 20). Arrangement involves organizing the parts of a rhetorical speech or, in this case, film, to maximum effect (Nichols 85). I will analyze the arrangement by using the theory of segmentation, introduced by Greg M. Smith in The Segmenting Spectator: Documentary Structure and The Aristocrats (Smith 83-100). I will analyze how the arrangement of segments constructs a perspective in the documentary. The arrangement of segments, thematically connected elements of the documentary, is very important in constructing this perspective. How elements are placed, in relation to each other, can create a very powerful structure. Often the structure of documentaries is build up around shifts in the perspective of a subject. The arrangement of segments is important; it takes the viewer through the documentary and the different perspectives to eventually persuade the viewer to adapt the desired perspective. Therefore it is important to analyze the arrangement to see how the viewer is persuaded.

§ 3.2.3 Style

The third part of rhetoric is elocutio, style. According to the classic rhetoric elocutio refers to style of speech, with the deliberate use of metaphors and tropes to persuade the audience (Corbett

17). I will not analyze the style of speech of the documentaries, but the film style, since the cinematographic elements can function to persuade the audience, just as the style of speech could. I will analyze the following style elements in the documentaries:

Mise-en-scène: this includes the arrangement of everything that appears in the framing such as actors, lighting, decor etc. The mise-en-scène of a film can reveal a lot of the perspective of the film. The choice of characters, the lighting etc. all directly influence the way the viewer receives the film (Bordwell and Thompson 118-138).

Cinematography: this includes all manipulations of the film strip by the camera in the shooting fase. In particular I will analyze camera angles, camera distances and camera movement (Bordwell and Thompson 167-218).

!19 of !114 Editing: editing partly overlays with arrangement. Where editing involves the selection and combining of the shots into segments, arrangement deals with the ordering of these segments.

The paragraphs on editing will therefore be focused on aspects such as rhythm, tempo and selection of shots (Bordwell and Thompson 223-265).

Sound: we can divide sound in documentaries into two categories. Diegetic sounds are the sounds that are recorded in the world of the film, such as voices and ambient sounds. Non- diegetic sounds are elements that do not originate from the film world and are added to the soundtrack during the editing process (Bordwell and Thompson 269 - 308). These are elements such as voice-overs, non-diegetic music and sound effects. Documentaries often use four kinds of sound: spoken word, sound effects, ambient sounds and music (Aguayo 103). Music can have a very persuasive effect. For instance, it can be used to set a certain mood in favor of the perspective or it can function as a guide through the narrative. That is why it is important to take into account (Bordwell and Thompson 269 - 308).

§ 3.3 Method

By implementing the theory previously explained, I will create a usable analysis model. In the following chapters I will analyze one documentary per chapter. For every documentary I will use a similar model.

My method is partly based on the case study by Medhurst and Benson in the article The

City: The rhetoric of rhythm. Medhurst and Benson state that “Documentaries can provide political content in an aesthetic form that results in a film of lasting rhetorical appeal (55). In their case study they analyze the documentary The City, produced by Ralph Steiner and Willard van

Dyke, on its rhetorical strategies. Medhurst and Benson conclude that the documentary is an argument for the establishment of greenbelt communities. In their analysis they research how this argument is constructed through rhetorical strategies. They use an analysis per segment (59-60).

After listing all the segments, their time codes and the content of each segment, they examine how each segment works in constructing the argument. They do this by analyzing different rhetorical aspects, such as the contrast between and combination of the different segments, framing and camera angles, montage and editing and music. All these different elements are linked back to the rhythm of the documentary, as they claim that the rhythm is most important in constructing the argument of The City. We can conclude that Medhurst and Benson use similar

!20 of !114 rhetorical aspects as Nichols examines in his book. This shows that the theory of Nichols is well applicable in determining the argument of the documentary.

For all the documentaries I use a detailed analysis per segment method, based on

Medhurst and Benson. In a schedule I will set out all the segments according to the following aspects: time code, content, diegetic sound, non-diegetic sound and any notable aspects in style.

This will provide a clear overview of how the documentary is structured. By doing this, I will start my analysis in the position of the viewer. I analyze how what happens on the screen might affect the viewer, taking my own experience as the criterion to form a hypothesis about the intended effects on the viewer. According to this schedule, I will analyze where and how certain perspectives are provided. This reveals how and when the viewer is addressed on the topic of assisted dying. It shows how the viewer is directed through the rhetorical strategies. These findings will be elaborated on in the paragraphs ‘arrangement’. Analyzing the arrangement will reveal the perspective on assisted dying provided in the different documentaries.

Connected to this persuasion through the arrangement, is the use of proof in the documentary. The rhetorical department invention will be covered in the paragraphs ‘invention’ for each documentary. These paragraphs analyze what kind of proof is used in the documentary and how this contributes to persuading the viewer according to the previously determined perspective.

Then, I will analyze style. I will analyze mise-en-scène, cinematography, editing and sound.

For the department style, I will limit myself to only pointing out the aspects that contribute to the perspective the documentary has on assisted dying. I will analyze which style elements are used and how they help persuade the viewer.

After this rather broad analysis of the whole documentary, we can bring this back to set out a brief overview of the argumentative structure of the documentary. What arguments for and against assisted suicide are used and how they are supported will be set out succinctly. This will enable me to eventually construct the main argument of the documentary which determines its perspective. The argumentative structure is constructed according to the Toulmin Model

(Hitchcock). The Toulmin Model offers a framework with which it is easy to construct an argumentative structure that points out the arguments used, the substantiation of these arguments and the possible rebuttal of the counterarguments.

!21 of !114 Thereafter, a brief summary of how the documentary constructs a perspective on assisted dying and how the viewer is persuaded to adopt this perspective is provided. This summary connects all the previously separated departments of the rhetorical analysis.

Finally, I will research how the documentary positions itself within the social and political debate through providing the previously determined perspective. Also provided is an analysis of the social impact the documentary caused after its airing. Since the documentaries are all produced very recently, it might not be possible to say something about their long-term effects, but then some first reactions to the films and first effects will be elaborated on. This is analyzed through newspaper articles.

!22 of !114 Chapter four: Analysis Terry Pratchett: Choosing to Die.

In this chapter, the documentary Terry Pratchett: Choosing to die will be analyzed. The film was produced in the United Kingdom in 2011. It was directed and produced by Charlie Russell. He made a film on Pratchett and his Alzheimer’s disease in 2009, a few years prior to this documentary (Rickett). His other documentaries, produced after Terry Pratchett: Choosing to Die, were about the topics of Granny Escorts and adopted children from Romania. Russell also made a third film with Terry Pratchett (imdb.com).

The film is presented by Terry Pratchett, a well-known fantasy writer from the United

Kingdom. Pratchett suffers from a rare form of Alzheimer’s. He knows that in a few years, he will probably not be able to take care of himself anymore. Therefore he considers the option of assisted suicide in Switzerland, since assisted dying in the United Kingdom is prohibited. The documentary follows Pratchett in his search for options of assisted suicide. He meets several people who are connected with assisted suicide. The film mainly focuses on the story of Peter

Smedley, an English millionaire hotelier who was diagnosed with motor neuron disease. Peter travels to Switzerland with his wife for assisted suicide. Pratchett follows Peter to Switzerland and witnesses the assisted suicide in a Dignitas Clinic. There, Pratchett also meets the founder of

Dignitas, Ludwig Minelli. Pratchett also meets the widow of the Belgian writer Hugo Claus, who decided to commit suicide in 2008 after being diagnosed with Alzheimer’s disease. Pratchett meets Mick Gordelier as well, who also suffers from a motor neuron disease but who chose to stay in a hospice in the UK. Andrew Colgan, a 42 year-old who suffers from multiple sclerosis, also decides to go to Switzerland to commit assisted suicide.

Terry Pratchett: Choosing to Die focuses on Pratchett’s own internal dilemma on assisted suicide. He considers the arguments for and against assisted suicide by involving himself with several involved parties.

After analyzing the documentary, it became clear that it provides a positive perspective on assisted dying. It argues that everyone should have the right to choose his or her own death. The analysis below shows how the documentary constructs this perspective on assisted dying and how this corresponds with the social and political debate on assisted dying in the United Kingdom. A detailed analysis per segment can be found in appendix one.

!23 of !114 § 4.1 Arrangement

The documentary starts off with a personal introduction by Terry Pratchett himself in a very dark room (segment 1). In the opening it immediately becomes evident that the documentary will be about assisted dying, which is not legal in the United Kingdom. Terry shares that he is not against assisted dying, because he thinks that ‘in these modern times, one should not have to fear what the future may hold’. Terry tells that in this film, the viewer will discover if it is possible for someone to arrange for themselves the death that they want. Terry also shares that he suffers from

Alzheimer’s, and that he considers how he wants to die as well. The viewer immediately knows the documentary will function as some sort of personal quest for Terry to discover the options of assisted dying. It is clear that Terry is open to the idea of assisted dying, although he has some questions about it. The viewer is already offered a positive perspective on assisted dying, but this is not yet made completely explicit.

In the next segment (segment 2), the viewer gets to know Terry better. A personal bond is created between Terry and the viewer as Terry is presented as a very likable person in this segment. This segment ends with Terry in the dark room again, in which he states: “I want to enjoy life, for as long as I can squeeze the juice out of it. And then, I would like to die. But I don't quite know how, and I am not quite sure when.” Here, the viewer is offered a similar perspective as presented in the opening scene: a positive perspective towards the option of assisted dying, but with some questions or doubts about the way that would happen.

In the following segment (segment 3), Terry mentions the arguments against assisted dying. He tells us, in voice over, that some people fear that allowing assisted dying will lead to opening the flood gates and eventually to uncontrollable killing of the vulnerable. “The question is: how to guarantee sincere consent? And what happens to those who are left behind?” Terry admits it is a delicate subject, but he wants to explore the options because of his Alzheimer’s. In this segment, the contra-sound of assisted dying is presented. But Terry only identifies the counterarguments; he does not elaborate on them or confront them. In fact, the attention to this negative side of assisted dying is very limited.

Next, a segment follows in which new characters, Peter and his wife, are introduced

(segment 4). This segment elaborates on how Peter considers assisted suicide in Switzerland.

Terry reacts by explaining his problem with the Dignitas clinic in Switzerland. He sees it as a one- stop-shop, a machinery. He also compares it to the killing business of the Nazis, which encourages the viewer to think about the practices at Dignitas. This segment is followed by a rather light

!24 of !114 segment in which, just as in segment 2, a personal bond is created between the viewer and the characters (segment 5). The lightness of this segment contrasts with the heavier segment 4. This contrast makes it manageable for the viewer to watch.

Segment 7 contains a slight breaking point, when Terry goes to a restaurant with Peter and his wife. It is an emotional scene to watch because it is obvious how much Peter is suffering from his disease. Peter explains that “he can’t risk continuing his life like this any longer”. This is the moment when the reality of assisted dying visibly hits Terry. He realizes that Peter really wants to end his life, and this is obviously confrontational for Terry. He is struck by the fact that Peter would go to Switzerland so early in order to protect his life. He ends his thought process by stating that assisted dying remains illegal in the United Kingdom. It is easy for the viewer to also disagree with the illegality of assisted dying, just like Terry, Peter and his wife, after having just seen the personal story of Peter.

After these heavy segments, the documentary uses more or less the same structure as before. Three segments (segments 8, 9 and 10) are presented in which Terry meets Veerle Claus, the wife of the late writer Hugo Claus, who died using assisted dying. First Veerle is introduced, and then a personal bond is constructed between Veerle and the viewer. This is a more emotional scene to watch because Veerle tells about the death of her husband. In the following segment

Terry again reflects on the previous segments. In this last segment Terry is obviously affected again by the story of Veerle and he almost cries. The structure of these segments is very persuasive, because first a bond is created between the viewer and the characters, and then the viewer witnesses how supportive these characters are of assisted dying. It is obvious that assisted dying was really the best option for them. Because of this structure, it is hard for the viewer not to support the opinions of these characters.

The next character Terry meets is Mick, who has the same disease as Peter but who decided to live in a hospice (segments 11 and 12). These segments are rather light to watch, and an alternative to assisted dying is provided. In the following segment (13) we see Terry reflecting on this meeting in the dark room. His opinion is shared again: everyone needs to be able to make the choice for him- or herself.

Then, a rather similar group of segments follows as with Peter and Veerle when Terry meets Andrew who is suffering from MS and who wants to end his life. Andrew already picked a day to end his life in Switzerland. After this, (in segment 15) Terry again reflects on the meeting.

He is obviously affected by Andrew’s decision. This is the first time in this documentary that the

!25 of !114 viewer might notice a less positive perspective on assisted dying from Terry. Before, he was only positive about assisted dying, but now that it gets so close, the reality hits Terry. The ethical approach to assisted dying makes a little room for an emotional response. But even though we see Terry not being completely convinced anymore, he still says he has to accept Andrew’s decision. In the next segment (16), we see Terry and his assistant Rob traveling to Switzerland to follow not only Andrew, but also Peter, who decided to go to Dignitas as well. Rob too is emotionally affected. He states that “It feels so wrong”. This is the point where the documentary slightly shifts from supporting assisted dying towards having some emotional doubts about it.

After these emotional segments, some light segments follow in which the viewer gets to know the organization for assisted suicide in Switzerland, Dignitas, through meeting the secretary general of Dignitas, Ludwig (segments 17, 18 and 19). They visit the ‘dying house’ in which foreigners can commit assisted suicide. Terry is still not convinced about Dignitas: “I do not want to live in a world where anyone could die more or less at any time, more or less at a whim. Maybe there are better ways of doing it.” The perspective of the documentary is still a bit staggering at this moment. These doubts, however, are not really about whether assisted dying should be an option, but more on possible problems with Dignitas.

In segments 22 and 23 Terry and Rob meet Andrew and his mother before he ends his life.

These are very emotional scenes and Terry and Rob are obviously still not convinced about his decision. Andrew’s mother thinks that it is a selfish and not loving thing to do of Andrew. But she does think everybody should have the right to decide for himself. In segments 23 and 24 we see

Terry and Rob after they said goodbye to Andrew. They are very obviously affected. They listen to

Andrew’s favorite music and Terry has to cry a little. In these segments the emotions are leading, the ethical arguments are not discussed.

The heavy emotions fade away in the next segments (segments 26 and 27) when Rob and

Terry visit Peter again. These lighter segments give the viewer the opportunity to ‘recover’ for the last part of the documentary. Terry projects his own situation on Peter’s, which makes it very personal. He ends the segment with: “I think I am going to see a man die today… at his own request.” This introduces the last, emotional, part of the documentary.

Segment 30 is the point where everything comes together, when Peter drinks the poison and dies. The death of Peter is fully registered. In this segment, the emotion is leading, there is no attention paid to any ethical argument. The viewer will definitely be swayed by his emotions in this scene.

!26 of !114 Segment 31 is a breaking point again, for Terry himself and for the viewer. Terry reflects on the death of Peter at Dignitas and he admits that he was extremely impressed by how the assisted suicide was done. He thought it was wonderful. Then, Terry breaks down and cries. Whereas before, he was not completely convinced about assisted suicide at Dignitas, he is now convinced that it is a good option. This is made extra explicit in segment 32 where he directly addresses the viewer, reflects on the process and states that it was a happy event. The perspective is now obviously completely in support of both assisted dying and Dignitas. Terry is really convinced about the importance of allowing assisted dying after witnessing Peter’s peaceful death. This is not only the breaking point for Terry, but also for the viewer. Witnessing Peter’s very emotional but peaceful death convinces the viewer of the importance of assisted dying.

In segment 33 Terry is again seen in the dark room, proposing a final conclusion. He states: “I want to stay around as long as I can to see assisted dying done properly in the UK.” This shows that he completely supports assisted dying and thinks it should be legal in the UK. He ends the documentary with: “If I die, when I die, I would like to die outside in the sunshine. Hmm.. I suppose there is sunshine sometimes in Switzerland.” All his doubts have disappeared and he would even consider going to Dignitas himself. The perspective that is offered here is completely in support of assisted dying.

§ 4.2 Invention

When analyzing the documentary, it is obvious that the documentary contains a lot of ‘proof’ used for constructing the perspective. The three different forms of proof, logos, pathos and ethos, will be elaborated on below.

§ 4.2.1 Logos

Logos is the proof with which the audience can form an opinion on the subject matter (Nichols

79). Terry provides some rational proof about the situation of assisted dying in the UK and in the rest of Europe. Paying attention to the legal situation constructs a form of reliability with the viewer.

The documentary provides some counterarguments on assisted dying. This gives the viewer the impression that the documentary does not only provide one side of the story. However, as noted in the analysis of the arrangement, very little attention is paid to these

!27 of !114 counterarguments. Not paying much attention to counterarguments makes it easier to persuade the viewer through the arguments in favor of assisted dying.

§ 4.2.2 Pathos

Although the documentary contains some rational proof, the emotional proof is much more important. By creating an emotional bond between the viewer and Terry and the other characters, the viewer emphasizes the characters. The entire documentary is built up to constantly create an increasingly intense emotional bond between the viewer and the characters. Consequently, the viewer is persuaded to be led by his emotions and therefore to follow the opinions of the characters. Since all characters support assisted dying, and emotional proof is provided in favor of this argument, it is evident that the perspective of the documentary is positive towards assisted dying.

§ 4.2.3 Ethos

The ethical proof in this documentary supports Terry and the other characters. As Nichols describes: “the narrator gains the trust and the admiration of the audience by creating the impression that he or she is a person of intelligence, benevolence and probity” (79). This is exactly what happens with Terry. First of all, he is a writer, which immediately gives off the impression of an intelligent person. And because of his fame, he also has a certain credibility. Furthermore, he appears to be a very likable person, as he has good moral values, which becomes clear when he intervenes with the other characters. He also appears to be very benevolent. He is not afraid to show his emotions on screen, he is obviously touched by all the stories and openly admits how hard it is for him, which makes him very sympathetic. And just like Terry, the other characters are very likable.

Terry seems to be very sincere throughout the documentary. He clarifies that he supports assisted suicide, but he also admits how delicate the subject is, and how hard it is if someone makes the decision. This increases his credibility as a narrator, and through that, the credibility of the whole documentary. This makes it easier and more natural for the audience to follow Terry in his argument of supporting assisted dying.

!28 of !114 § 4.3 Style

The style in Terry Pratchett: Choosing to Die supports the positive perspective on assisted dying.

The paragraphs below will elaborate on how the style functions to construct the perspective of the documentary per department of style.

§ 4.3.1 Mise-en-scène

One aspect of mise-en-scène is the selection of characters. In Terry Pratchett: Choosing to Die, all the characters are chosen in favor of the perspective. All of the characters support the option of assisted dying, though some more than others. By excluding opponents and only elaborating on the arguments against assisted dying through Terry, the documentary offers a subjective group of people involved with the subject.

Another aspect of mise-en-scène are the locations. The most notable location is the ‘dark room’ in which Terry shares his personal opinion on assisted dying and provides the main arguments of the documentary. The audience is directly approached by Terry during these segments. The whole setting of the room is very staged. The background is almost completely black, except for several bright lights on the side. This construction has some resemblance to the

‘tunnel of light’ which is often described in relation to the last moment of someone’s life. Terry wears black, which makes his body is almost invisible. The focus is on his face. This whole construction makes it feel as if we are ‘inside’ his head. The way this is staged intensifies the effect that Terry’s thought process has on the viewer.

The other locations of the film are mainly logical places on Terry’s journey, such as houses of the patients, the hospice and the Dignitas clinic. The bond between the viewer and the characters is intensified by filming the characters in their own houses and showing personal belongings. This is very important for the emotional proof of the documentary. Audiences are more likely to go with a certain perspective, or agree with an argument, when they have a connection with the characters.

The lighting is, except for the scenes in the dark room, not very striking. The lighting seems slightly darker than natural, but this is not outstandingly noticeable. The slightly dark lighting set a slightly somber tone.

!29 of !114 § 4.3.2 Cinematography

Terry Pratchett: Choosing to Die uses a very personal approach. It tells the personal story of Terry himself, and he meets people who share their personal stories. He even attends the assisted suicide of Peter, a very personal event. The cinematography of the documentary supports this personal approach.

The documentary contains a lot of close-ups, including some extreme close-ups. In the most scenes, the faces of the characters are explicitly shown. Because of this we can see their emotions very well. The audience feels like they are involved in the experiences of Terry and the other characters. This supports the emotional proof of the documentary. Besides close-ups, there are also a lot of medium-shots of the characters. These shots are often used when the characters talk with each other. They also give the audience the feeling of closeness, like you are really there with them.

The feeling of really being close to the characters is increased by using eye-level camera angles. Practically all the shots are taken at eye-level which gives the impression of a point-of-view shot. This camera level, combined with the close camera distances, feels like the viewer is looking from someone’s point of view. This creates the feeling of really being present. The cinematography of the documentary does not create a distance between the viewer and the characters, which supports their emotional connection. This causes the viewer to easily agree with

Terry and the perspective of the documentary.

§ 4.3.3 Editing

The editing of Terry Pratchett: Choosing to Die is not very striking. The editing often follows the action on screen. Faces of characters are alternated based on who is talking. In some cases the editing does not follow the action on the screen, such as when meaningful shots from outside the action are inserted. For example, when Peter drinks his poison for his assisted suicide, the shots of him dying are alternated with shots of Terry's face. These alternating shots have an emotional function. The substandard editing gives the documentary a natural feeling. This corresponds with the cinematography of the documentary.

!30 of !114 § 4.3.4 Sound

Music plays an important role in this documentary. It functions in two ways. On the one hand it functions to support or intensify the emotions. On the other hand, music is used to create contrast between heavier and lighter scenes in the structure of the documentary.

The music is mainly used to intensify the emotions in the heavier scenes of the documentary. In the dark room, slow piano music is mainly used, which creates a rather sad mood.

This intensifies Terry’s emotions and therefore the emotional bond the viewer feels with him. Very sad, dark music is also used in other emotional scenes. From segment 29 on, the music consists of electronic tones with an extreme low pitch. This is used in the segments when Peter dies, which is the most emotional part of the film. The viewers’ emotional reaction to these scenes will be more intense by using these very dark tones. By intensifying the emotions through music, the emotional proof of the documentary is increased. Terry Pratchett: Choosing to Die uses the music to put the audience in the right mood, an emotional mood which creates compassion for the characters. This emotional impact causes the viewers to agree with the arguments of the characters.

Besides intensifying the emotional impact, the music also has a structural function. As we could see when analyzing the structure of the documentary, it consists of very similar segments.

First, a light introduction to the characters is given. These segments are supported by very light, often high pitched harp music. Even though the content of these segments is rather heavy, the segments are bearable to watch because of the light feeling they provide. The music creates a lightness which makes it possible for the viewer to watch such heavy content. After these light segments, the more heavy segments follow, supported by more somber music. Besides the narrative itself, the music thus also provides a structure that leads the viewer through the documentary.

Besides music, Terry’s voice-overs are really important. They give the most information in the documentary; they provide the rational proof, and they also allow Terry to share his own experiences and reflections, which creates a bond between him and they viewer. Terry’s monologues are really important. He shares the most personal opinions during these segments, such as: “I want to stay around as long as I can to see assisted dying done properly in the UK.”

These voice-overs and monologues function as a guide through the movie. The positive perspective on assisted dying is very obvious in these segments. The film also ends with a very impressive monologue, in which he makes clear that assisted suicide in Switzerland has become a real option for him.

!31 of !114 § 4.4 Argumentative structure of Terry Pratchett: Choosing to Die

After analyzing which perspective is provided in the different rhetoric categories, we can now begin to construct the argumentative structure. The main argument of the documentary is:

‘Everyone should have the right to choose how to die and therefore assisted dying should be legal in the United Kingdom’. There are a few arguments used to support this claim: - In these modern times one should not have to fear what the future may hold - Ending your life early is a way to protect your life - One should not have to go on to the bitter end; one should not suffer - Everybody has the right to decide for himself Those arguments are substantiated through direct observation of people who embody those arguments. Besides direct observation, those arguments are also provided through personal testimonies.

The documentary nuances its main argument by providing some counterarguments:

- Allowing assisted dying could lead to opening the flood gates and eventually to uncontrolled killing of the vulnerable - The Dignitas organization feels wrong because anyone could die more or less at any time - Assisted dying is a selfish thing to do; what happens to those who are left behind? Those counterarguments are not really substantiated. They are mainly just posed by Terry and not elaborated on. The only substantiated counterargument is that of the possible problems Terry and

Rob have with the organization Dignitas. This counterargument is overturned through the direct observation ofPeter’s assisted suicide. Afterwards, the argument was posed that assisted suicide at Dignitas was wonderful and very peaceful. This argument is supported through the personal testimony of Terry and through directly observing it as a viewer. With that the counterargument has been dismissed. By tackling the counterarguments, only the arguments in favor remain which lead us back to the main argument.

§ 4.5 The perspective of Terry Pratchett: Choosing to Die

By analyzing Terry Pratchett: Choosing to Die using a rhetorical framework we can conclude a distinctly supportive perspective on assisted dying is provided leading to the main argument:

‘Everyone should have the right to choose how to die and therefore assisted dying should be legal in the United Kingdom’.

!32 of !114 The viewer is persuaded to follow the supporting perspective through the embodiment of the arguments in favor by characters like Andrew and Peter. To see the people who you have created a bond with -Terry, Peter and his wife, and Andrew- support assisted dying to such an extent makes it hard to disagree with their argument. There is little room for counterarguments.

Witnessing several, very likable, characters express their support of assisted dying, and even commit assisted suicide, creates an emotional impact that persuades the viewer to adopt their arguments. The style of the documentary emphasizes the emotional bond between the viewer and the characters. The cinematography creates a feeling of closeness which strengthens this emotional bond. This is intensified even further by the music. The music also functions to create a bearable structure which alternates the heavy segments with lighter segments. This makes the documentary easier to watch for the viewer.

§ 4.6 Terry Pratchett: Choosing to Die and the debate in the UK

The documentary places itself in the middle of the social and political debate in the UK. The documentary was most likely produced to draw attention to the legalization of assisted dying in the UK. In the first minutes of the documentary, Terry Pratchett already tells the viewer that he thinks this documentary is really important to watch. This documentary is the first in the UK to show an assisted suicide explicitly on screen, making it rather controversial.

As research has shown, 82% of the general public in the UK was in favor of the legalization of euthanasia in 2009. The documentary provides a supporting perspective on assisted dying and therefore represents the opinion of the majority of the population of the UK. The documentary functions as a public representative by doing this.

The goal of the documentary is very likely to contribute to the legalization of assisted dying in the United Kingdom. Showing the very emotional, personal stories of people may change a lot of people’s opinions. Because, as stated above, it is very hard to not agree with them if you watch the documentary.

After analyzing the perspective of Terry Pratchett: Choosing to Die, we can conclude that it is heavily influenced by the legal, social and political debate in the United Kingdom. The documentary is produced as a reaction to the current legal situation. It corresponds with the dominant opinion of assisted dying among the population of the United Kingdom. The perspective persuades the viewer to develop a positive view of assisted dying through the rhetorical strategies explained above.

!33 of !114 In the first four years after its screening, the documentary evoked many reactions. Within

24 hours after the television premiere, the BBC received almost 900 complaints for broadcasting the final moments of one man’s assisted suicide (Epstein). The documentary was accused of romanticizing and normalizing assisted dying (Thomas). This criticism often came from religious parties who accused the documentary of being propaganda for euthanasia (Epstein). It was also feared that the documentary would lead to more suicides (Parryt). BBC reacted to the criticism by stating that the film offers viewers the chance to form their own opinions (Hough). However, even though the documentary received some negative response, overall it received a lot of praise and has even won several awards (Redaction The Telegraph). Although it is not possible to determine any long-term effects of the documentary, the right-to-die debate has definitely been reopened and is now experiencing a new surge of interest (Addley).

!34 of !114 Chapter five: Analysis Dignitas, La Mort sur Ordonnance

In this chapter the documentary Dignitas, La Mort sur Ordonnance (Dignitas, Death by

Prescription) from Switzerland is analyzed. The documentary was produced in 2010 by

Emmanuelle Bressan-Blondeau and Jean-Bernard Menoud. The documentary was aired by TSR2, the second Swiss public television channel that existed until 2012. TSR2 was one of the two main

French language channels in Switzerland and was relatively French oriented (rts.ch). The documentary is about the Swiss organization Dignitas, which provides assisted suicide. The organization is accused of promoting death tourism. The documentary offers a peek into Dignitas.

It also takes us to Germany, Belgium and France to understand what this suicide tourism entails, through meeting some people who helped loved ones go to Dignitas.

After analyzing Dignitas, La Mort sur Ordonnance, at first sight we could conclude that the documentary attempts to provide a rather objective perspective on the process of assisted suicide at Dignitas. However, although the documentary presents itself as an objective ‘report’, it is rather subjective. It has a positive opinion on Dignitas and assisted suicide. A detailed analysis per segment can be found in appendix two.

§ 5.1 Arrangement

The documentary starts with footage of a house in Zurich, where we see two women, one in bed and one sitting next to her with a drink in her hand. The woman next to the bed asks if the woman in the bed is Michèle Causse and if she wants to die. They say their goodbyes and kiss each other on the cheek. This all happens in a rather light, almost humorous, way. In this first segment it is clear the documentary will have something to do with assisted dying, but not what kind of story we will see. Segment 2 directly introduces us to the subject of assisted suicide. We hear the voice- over of the filmmaker who tells us that French citizen Michèle Causse chose to die in Switzerland by drinking 15 grams of diluted pentobarbital. We also hear that Switzerland is the only country in the world that facilitates assisted suicide for foreigners and the only one that allows groups such as Exit and Dignitas to organize prescription death. When we hear this, the title ‘Dignitas, Death by Prescription’ appears on the screen, followed by ‘A report by Emmanuelle Bressan-Blondeau and Jean-Bernard Menoud’. This second segment already provides a lot of information about what we are about to see. We know we will watch a ‘report’, which claims to represent the truth.

!35 of !114 This puts the viewer in a certain viewing mode. We will watch the documentary under the assumption that it will be an objective representation of Dignitas.

In segments 3, 4 and 5 Dignitas’ founder Ludwig Minelli is introduced. The filmmaker interviews him about the people he helped die. During those interviews, we only see Ludwig and we just hear the voice of the filmmaker. In segment 5 the filmmaker tells us through voice-over about the ambiguous laws on assisted suicide in Switzerland. These segments mainly have an informative function. The filmmaker speaks with certain reverence about Ludwig Minelli, though.

She calls him “a formidable lawyer, although he looks like a sweet old man”. Ludwig is portrayed positively.

In segments 6 through 10, the filmmaker visits the French Jean-Pierre and Régine Salvat, who lost their son “under extremely dramatic circumstances”, according to the filmmaker. Their son, Remy, suffered from a degenerative disease and therefore wanted to die. Remy wrote the president before he died, to ask if the law could be changed. He received a letter back, saying:

“On philosophical grounds, I feel we do not have the right to end life”. After this answer, Remy saw only one solution and he committed suicide with a cocktail of drugs and alcohol. Jean-Pierre found his son the next morning. Régine says:

“People say we’re free to take our own lives, and we are, but I want to tell them that it is horrible. Remy did not die peacefully. My husband kept me from approaching the body. I ran after the ambulance and images of my child still haunt me. He did not die peacefully in bed. He drowned on the floor in his vomit. Remy didn’t die in peace. Knowing that’s how he had to die, is horrid.”

Remy decided not to go to Switzerland since he was an activist and he wanted everyone to have the right to die. These segments focus on the situation of assisted dying in France. It shows the horrible consequences of not allowing assisted suicide. The segments have an emotional impact on the viewer. Hearing the horrible story of Remy persuades the viewer to think that there should be a better, more humane, solution for people like Remy. Since the documentary is about

Dignitas, it is easy to think of Dignitas as the better solution. Through hearing Remy’s story, the viewers’ support for Dignitas, and therefore assisted suicide, grows. The story of Remy actually functions as an argument in favor of assisted suicide. The only counterargument in these

!36 of !114 segments given is the president’s answer to Remy’s letter, and this is not elaborated on any further.

In segment 10, the voice-over tells us that Remy’s sacrifice was in vain, as the French law remains unchanged. Then Michèle Causse is introduced. She allowed the television crew to film her story “in the hopes that it would wake people up”. Segments 11 through 15 focus on Michèle.

In the first segments she explains why she wants to end her life. She is almost bedridden due to several illnesses and she is a burden to others. Then she tells us that she loves life but she does not want it to lose shape. In segment 15 Michèle says that she wants nothing else, only to go to

Switzerland because life has lost its meaning. In these segments, Michèle’s story provides several arguments in favor of assisted suicide. These include the ideas that no-one should suffer unbearably and that life is no longer worth it when it loses its meaning, as well as her claim that she does not want to be a burden to others. No counterarguments are provided. This makes it easier to understand Michèle’s decision and to agree with her choice of assisted suicide. This also in the benefit of Dignitas, since it is portrayed here as the perfect solution for Michèle.

In segments 17 and 18 the German Reinier and his son Felix tell us how Silke, the wife of

Reinier and the mother of Felix, went to Dignitas. They reconstruct the horrible journey to

Switzerland from Germany, in which Silke, who was suffering intolerably, was taken in a camping car while, constantly in pain and vomiting. The filmmaker tells us through voice-over that Reinier and Felix were very relieved when Silke could end her life. They did not hesitate at all to drive her to Dignitas. After this, some information is provided about the current situation of assisted dying in Germany. Only 40% of the population favor assisted suicide. This is mainly because the word euthanasia has been a taboo in Germany since the Nazis. In segment 18 Reinier also says that he thinks Dignitas would not work in Germany, because of the German past and the powerful lobbies. These segments work in quite the same way as the stories of Remy and Michèle. We witness the horrible consequences of not allowing assisted dying. Dignitas is presented as the ultimate solution for those people. Hearing such a horrible story like Silke’s convinces the viewer of how important it is for people to be able to end their lives. It persuades the viewer to support

Dignitas. These segments also barely provide any counterarguments. The taboo surrounding the nazis is mentioned, but not really elaborated upon. These segments therefore offer a very subjective, persuasive view on assisted suicide.

Segment 19 is very important. The filmmaker tells us though voice-over that the majority of the people in Switzerland favor assisted suicide. In 2010 resistance from the federal council

!37 of !114 grew. The minister of Justice, Eveline Widmer-Schlumph tells us that many foreigners come to

Switzerland for assisted suicide, yet some are not ill. She thinks that ‘Death Tourism’, is not a proper image for Switzerland. She proposed a law to regulate assisted suicide at Dignitas. This segment illustrates the biggest issue around assisted suicide in Switzerland, the suicide tourism.

This death tourism is exactly what we witnessed through the personal stories of Remy, Michèle and Silke. Since those previous segments persuaded the viewer to agree with the people who decided to come to Switzerland to end their lives, the viewer very likely does not agree with

Eveline’s argument here. In segment 21, it is also directly told that the initiative was short-lived because the bill was set aside when Eveline left the department to become minister of finance.

This counterargument for assisted suicide is hereby undermined. The counterargument is elaborated upon to such a small extent that it is not convincing to the viewer. Here it becomes really obvious that the documentary provides a positive perspective of Dignitas.

In segments 22 through 25, we travel to Belgium. The filmmaker states that in Belgium, the Netherlands and Luxembourg, assisted suicide and euthanasia are legal. These segments are rather informative, as they show an alternative to Dignitas. The image created of the process of euthanasia in Belgium is that it is a very secure and humane method. No counterarguments are provided, only arguments in favor of assisted suicide. The film creates the image of a completely unproblematic process in Belgium without any issues regarding euthanasia.

In segment 26 the filmmaker tells us that Belgium also offers foreigners the option of assisted suicide, but the long period of medical consultation discourages some. Switzerland offers an easier approach that gives everyone the right to die. Dignitas is portrayed here as an even better option for foreigners than Belgium. The opinions on the issues regarding death tourism are completely refuted in those last few segments.

In segments 27 and 28 some issues considering Dignitas are pointed out. Dignitas used helium on 4 patients. This outraged a lot of people, because death by helium is almost barbaric, according to Bertrand Kieffer of the national commission of ethics. But Bertrand also thinks the intention is good and the motivation is humane and therefore it must have a legal framework. The state must protect the weak. This segment shows the dark side of Dignitas somewhat, but mainly argues that the state should support assisted suicide more by constructing a legal framework.

Another issue concerning Dignitas is the high costs of 10.000 dollars for assisted suicide.

Ludwig has been criticized because his personal fortune has increased since the founding of

Dignitas. The filmmaker confronts Ludwig with this issue in segment 29. Ludwig answers that it is

!38 of !114 not true, after which the filmmaker asks if he can prove that. Ludwig answers: “The accusers must prove it. I don’t have to prove my innocence, although I can. None of my money comes from

Dignitas.” In segment 30 Andreas Brunner, the public prosecutor of Zurich, is introduced. The filmmaker explains that he has kept a close eye on Dignitas for years. But in their interview he remained prudent, even evasive and he has never produced evidence, according to the filmmaker. This issue considering Ludwig is tackled really quickly in segment 30 and no further attention is paid to the issue. The documentary obviously chooses the side of Ludwig here.

In segments 31 through 34 more about information about the process at Dignitas is provided by following Erika, the host of Dignitas, hearing one of the doctors of Dignitas and seeing Michèle talking about the process. In segment 32 Michèle says that she does not think that there will be crowds of people begging to die if euthanasia would be legal in France. She thinks people cherish life and want to live it to the last drop. The few who wish to die will certainly have good reasons for it. Michèle refutes the ‘open-gate’ argument in this segment which is often put forwardby opponents of assisted dying. Because the viewer did get to know Michèle a bit, it is easier to agree with her argument than with that of the opponents. Here, the viewer is again persuaded to agree with Dignitas and assisted suicide.

After segment 35 the last part of the documentary starts. In this last part no further information on Dignitas is provided, but we witness the assisted suicide of Michèle. She listens to opera music, which makes her cry. This is the most emotional part of the documentary. However, she says that “Music makes me cry, not death.” This shows how glad she is that she can end her life through the assisted suicide. After this, in segment 37, we see the opening scene again in which Erika sits next to Michèle’s bed. Only now the scene continues with Michèle drinking the poison. After this she eats some chocolate and tells how disgusting the poison is. The whole situation is rather unemotional, even somewhat joking. At the end of segment 37 Michèle’s partner, Nikie, comes to sit on the bed and cry. This is a little more emotional. Then Michèle passes away. The documentary ends with the body of Michèle laying in the empty room of

Dignitas. Then the credits start rolling.

§ 5.2 Invention

After analyzing the documentary, we can conclude that Dignitas, La Mort sur Ordonnance creates the sense that it provides an objective report on Dignitas. However, the viewer is in fact

!39 of !114 persuaded to support Dignitas and assisted suicide. The paragraphs below explain how the invention in the documentary persuades the viewer.

§ 5.2.1 Logos

As stated above, the documentary provides a lot of information about Dignitas in general, assisted suicide at Dignitas and assisted dying in Europe. The documentary explains in detail how

Dignitas works and how the process of assisted suicide takes place. The laws on assisted dying in

Switzerland, as well as some other European countries, are also accurately explained. This is mainly done through the voice-overs of the narrator, in this case the filmmaker. This gives the impression that the narrator is very reliable and not subjective. But this is not entirely true. The narrator does indeed mainly provide information, but this information is not always completely objective. Expressive adverbs are often used to direct the viewer, for example, when the filmmaker says Remy died under ‘extremely dramatic’ circumstances, or that Reinier and Felix drove to Switzerland under ‘intolerable’ conditions. Here the voice-over seems rather objective, but is in fact really persuasive in favor of assisted dying. The documentary thus provides a lot of rational proof, which is entirely true and accurate. However, this accurate proof is often provided in a way that is not fully objective. By subtly steering the viewer through the subjectivity of the voice-overs, the viewer is made to create a positive opinion of Dignitas.

Besides offering objective information in a subjective way, the documentary almost only pays attention to the arguments in favor of assisted suicide and Dignitas. Some counterarguments are addressed, but they are not discussed. They are often overturned really quickly, without really elaborating on them.

§ 5.2.2 Pathos

The arguments in favor of assisted suicide at Dignitas are mainly provided through the personal stories of Remy, Michèle and Silke. They all wanted to end their life but lived in countries where assisted dying is illegal. The direct consequences of not allowing assisted dying are embodied through those stories. Hearing how Remy had to kill himself in a terrible way, or how Silke had to go to Switzerland on a horrible journey, creates emotional proof in favor of Dignitas. When hearing those stories, every viewer will agree that nobody should have to suffer like that. This emotional proof creates a feeling of support for Dignitas within the viewer and persuades them to

!40 of !114 form the opinion that assisted dying should also be legal in the home countries of Remy, Michèle and Silke.

§ 5.2.3 Ethos

The ethical proof in this documentary is mainly used to create the feeling that it is a reliable documentary. This already starts in the opening titles when the documentary claims to provide a

‘report’. This sense of it being a report is mainly constructed through the ‘omniscient’ narrator, who functions as a voice-of-god. The documentary feels objective because it provides a lot of reliable information. The documentary also pays attention to the issues around Dignitas, such as the death tourism, though not a lot. This gives the impression that the documentary does not avoid confrontation with Dignitas or Ludwig himself. However, as stated before, these issues are only very briefly touched upon and are quickly dismissed. But paying attention to these issues still increases the reliability of the documentary.

The documentary also gives off the impression of being rather discrete. It does not, obviously, dramatize any events and it keeps a distance between the narrator and the viewer. The assisted suicide of Michèle is not fully recorded, and the dead body of Michèle is not closely portrayed. This increases the sense of objectivity. As we concluded before, although the documentary feels objective, it certainly persuades the viewer to support Dignitas. This persuasion is rather subtle because the viewer feels like he’s watching an objective report. The documentary therefore provides a positive perspective on Dignitas and assisted dying.

§ 5.3 Style

The most important feature of Dignitas, La Mort sur Ordonnance is that it creates the sense of an objective, reliable report on assisted dying and Dignitas. But at the same time the viewer is persuaded by the emotional impact of the stories of the characters. The objective image of the documentary is supported by the style. How this works is explained in the following paragraphs.

§ 5.3.1 Mise-en-scène

The selection of the characters supports the positive perspective on Dignitas and assisted dying.

The main characters, Michèle, Remy’s parents and Silke’s family, all persuade the viewer to support assisted dying through their personal stories. The characters who provide counterarguments play

!41 of !114 a much smaller role. The selection of those characters is very important in the construction of the perspective.

The locations of the documentary are not really striking. They are just logical places following the storyline. Some places have a bigger impact on the viewer, such as the scenes in

Reinier and Felix’s camping car. They reconstruct the journey to Switzerland, which increases the emotional proof of the story on the viewer.

The fact that the mise-en-scène is not very notable corresponds with the image of a report that the documentary wants to construct.

§ 5.3.2 Cinematography

The cinematography is not very notable either. It follows the action on the screen logically. The only really notable cinematographic choice is that the filmmaker does not appear on screen. As said before, this ensures that no bond between the filmmaker and the viewer is constructed.

Because of that, the filmmaker comes across as a very reliable source.

Because of the rather objective cinematography, the documentary creates the sense of objectivity regarding assisted dying, even though it actually does not provide an objective perspective.

§ 5.3.3 Editing

Like the cinematography, the editing is not really notable either. It also follows the action on screen logically. The editing feels really natural, which intensifies the feeling of objectivity the documentary wants to convey.

§ 5.3.4 Sound

The documentary hardly makes any notable use of music. Some segments us very neutral guitar music, mainly to fill the silences. Most scenes don’t use any music. The only noteworthy use of music is in the end of the documentary during Michèle’s assisted suicide. At first we hear diegetic opera music which makes Michèle cry. When Michèle drinks the poison, we hear non-diegetic opera music again. Also when the moment is there when she really starts to feel sleepy, the opera music is used again. Since this opera music made Michèle cry, the non-diegetic use intensifies the moment of death. It sets a more mournful and intense mood than in the rest of the documentary.

The end of the documentary is also the least informative part. This is where we actually witness an

!42 of !114 assisted suicide after hearing everything about it. The music fits the less objective approach of this last part. The music therefore steers the viewer to an extent. The absence of music in the first part of the documentary steers the viewer to watch the documentary as an objective report. In the last part, the documentary uses music to set a more subjective, emotional mood. Through this, it builds up to the moment of the assisted suicide, which actually is the embodiment of all the information we received throughout the documentary.

Much more important than the music is the voice-over of the narrator, which we already elaborated on in paragraph 5.2. In short, the narrator provides information about the process of assisted dying in Europe, and specifically assisted suicide at Dignitas. Although this voice-over at first sight seems to provide objective information, the voice-over subtly steers the viewer’s opinion in favor of assisted dying and Dignitas. The voice-over comes across as a very reliable source. The voice-over plays a major role in persuading the viewer to support assisted dying.

§ 5.4 Argumentative structure Dignitas, La Mort sur Ordonnance

After analyzing which perspective is provided in the different rhetoric categories, we can can now begin to construct the argumentative structure. The main argument of the documentary is: ‘It is really important that Dignitas provides assisted suicide for foreigners because everybody should be able to end their lives if they so choose.’ There are a few arguments used to support this claim: - One should die peacefully This argument is expressed by Remy’s parents who tell us about the inhumane death of their son who had to commit suicide by himself because assisted dying is illegal in France. - One should be allowed to end their life when it has lost its meaning - One should be able to end their life if they feel like they are a burden to others These arguments are provided by Michèle who chose to end her life at Dignitas. These arguments are only substantiated through direct observation of the viewer of Michèle’s life and her personal testimonies. - One should not go through intolerable suffering This argument is substantiated by Reinier and Felix, Silke’s husband and son, who also went to

Dignitas. They talk about how she suffered and how glad they were that Dignitas offered the solution to this unbearable suffering.

!43 of !114 The film also provides a few arguments against assisted dying, and against Dignitas in particular.

The most important counterargument is provided by Eveline Widmer-Schlumpf who claims that: - The death tourism Dignitas provides is not a proper image for Switzerland This argument is overturned by two arguments in favor of Dignitas: - The majority of people in Switzerland favor assisted suicide - Dignitas provides the ultimate solution for foreigners and this is something valuable The first argument is provided by the voice-over and not elaborated on any further. The second argument is embodied by the several personal storylines we follow in the documentary. They show that Dignitas offers the ultimate solution to those foreigners who suffer unbearably.

Another counterargument is dismissed by Michèle: - Allowing assisted dying will lead to uncontrolled suicides This counterargument is not mentioned explicitly in the documentary, but Michèle states at one point that “People love life and want to live it to the last drop. There won’t be crowds of people lining up to die. The few who wish to die will certainly have good reasons.” Without explicitly mentioning the counterargument, Michèle deals with this possible issue of assisted dying beforehand.

Both major counterarguments have therefore been invalidated in the documentary which only leaves the arguments in favor of assisted dying and Dignitas.

§ 5.5 The perspective in Dignitas, La Mort sur Ordonnance

The strength of this documentary is that the viewer gets persuaded to support assisted dying, although the viewer is not really aware of this. By creating the impression of providing objective information, but actually providing slightly subjective information, the viewer gets steered into the desired direction.

The documentary continuously emphasizes the importance of allowing assisted dying by confronting the viewer with emotionally affecting stories of people who did not have the opportunity of assisted dying in their home countries. Dignitas is presented as the ultimate solution for those people. All the arguments in favor of assisted suicide at Dignitas are embodied through personal and emotional stories. Only one person, Eveline Widmer-Schlumpf, gets the opportunity to express herself against Dignitas. She poses the counterargument that Dignitas

!44 of !114 would provide death tourism, which is not a good image for Switzerland to have. This counterargument is mentioned in an interview and is not expressed through a persuasive story.

Since it is much easier to agree with arguments that emotionally touch you, as is the case with the arguments in favor of assisted dying, than with rationally posed arguments, as with the counterargument, the viewer is persuaded to support the arguments in favor of assisted dying and Dignitas.

§ 5.6 Dignitas, La Mort sur Ordonnance and the debate in Switzerland

As we found out after the discourse analysis of the debate in Switzerland, the main debate focuses on suicide tourism at Dignitas. There has been a lot of resistance from other countries, such as the United Kingdom, France and Germany. In 2009 some resistance to suicide tourism arose in Switzerland itself as well. A debate was organized by the Bundesrat on the legal restrictions of assisted suicide and on banning organizations such as Exit and Dignitas.

The documentary was produced right after this debate. And after analyzing the documentary, we can conclude that the documentary is produced completely in reaction to the

2009 debate. The documentary defends Dignitas by showing the importance of the so-called suicide tourism. The documentary approaches death tourism not as something bad, bus as something really valuable. Dignitas is presented as the ultimate solution to all the people who want to end their lives but are not allowed to do that in their own countries. The viewer is convinced that the death tourism is something that we should cherish, instead of seeing it as something we should banish. The documentary thus tries to convince the viewer to pick sides in the debate and support assisted suicide at Dignitas.

Besides taking a side in the debate on death tourism in Switzerland itself, the documentary also provides some criticism of the situations in other European counties. The documentary takes the viewer to Germany, France and Belgium and compares the situations on assisted dying with

Switzerland. For example, it suggests that the situation in Belgium is less suited for foreigners than Dignitas because of the long consultation time. The documentary subtly positions Dignitas as the ultimate solution, of which other European countries can take an example. The documentary also pays some attention to the debates on assisted dying in those other countries, which places it in a broader context.

The film is produced to influence the debate on its turn, to convince people of the importance of assisted dying. In a very subtle way, it almost functions as a promotional film for

!45 of !114 Dignitas. This is in line with the only other documentary that had been produced on assisted dying in Switzerland, Exit: Le Droit De Mourir, which is about the assisted suicide organization

Exit. This documentary was also produced to convince the viewer of the importance of Exit and assisted suicide in Switzerland. The organizations Exit and Dignitas obviously received a lot of criticism and in response to that, their importance is shown in those promotional documentaries.

The documentary did not have a big effect so far. A search for any articles on the documentary yielded no results. This may be due to the non-controversial character of the documentary.

!46 of !114 Chapter six: Analysis Nachtvlinder, de laatste dagen van Priscilla

In this chapter I will analyze the documentary Nachtvlinder, de laatste dagen van Priscilla

(Midnight Butterfly, the last days of Priscilla) which was produced in the Netherlands in 2013. The film was directed and produced by Peter Bosch. Peter Bosch is a Dutch documentary maker with his own production company: Bosch Film. One of the main goals of the production company is social engagement (boschfilm.nl).

Nachtvlinder is a documentary about the 26-year-old Priscilla. When she was 16, she heard that she suffers from the same terminal illness that killed her mother. She decides that she does not want to suffer as much as her mother did, so she chooses to end her life through euthanasia.

In the meantime, she enjoys life as much as she can. She is well known in the nightlife of

Amsterdam, where she is called Butterfly. Priscilla decides to end her life on her birthday, so she can have a goodbye party and a birthday party at the same time. The documentary follows

Priscilla in the last days of her life, as she talks about coming to the decision of euthanasia. It also follows her family and friends until 1,5 year after her death.

After analyzing Nachtvlinder, de laatste dagen van Priscilla, we can conclude the documentary provides a supporting perspective of euthanasia. This perspective is not provided directly for the viewer, but by telling the Priscilla’s persuasive story. A detailed analysis per segment can be found in appendix three.

§ 6.1 Arrangement

The documentary starts with footage of the preparations of a funeral (segment 1). We see a woman making arrangements for the funeral. She says: “Yes, it is heavy.” This immediately sets a mournful mood, although it is not clear who passed away and what the documentary will be about. After this, the title Nachtvlinder, de laatste dagen van Priscilla appears. In segment 3 we see a shot of the funeral card. We hear a voice-over: “I’m going on a journey. To leave behind the ones I love, and to retrieve the ones I loved.” After this, we see Priscilla on screen, which we know through the name title ‘Priscilla Brouwer’. She tells about how she designed the funeral card herself, and how the butterfly on it has a symbolic function. It stands for freedom, and now she will finally be free from suffering and her disease. This segment is rather confronting because we get to see the person who we know has passed away. We also know now that she is suffering from a disease and that she is really young. In segment 4 we go back to the woman from the

!47 of !114 beginning, who is driving in the cortège. She tells us how much she really loved Priscilla and how they know her life expectancy would be low. But she counted on 30 years, and eventually it turned out to be 25 years. The woman cries while talking, which intensifies the mournful mood. In this first part of the documentary, the viewer does not yet know what the story will be about. But the mood is set and our curiosity is aroused.

In segment 5 we move 1,5 years forward in time. We see two friends visiting Priscilla’s grave. They put a picture of her on the grave saying: “Here she was completely healthy. This was,

I guess, two years before she committed euthanasia.” Now we know that we will see the story of a young girl who committed euthanasia. However, the news about Priscilla’s euthanasia is brought very casually by her friends, without making a big deal of it. The indirect argument made here is that euthanasia is a normal thing to do given certain circumstances. Shortly after this, we see old footage of Priscilla walking on the beach and we see her friends toasting to Priscilla at her grave

(segments 6 and 7). Although there is no special attention paid to the fact that she committed euthanasia, it surely influences the way the audience views the rest of the documentary.

In segment 8 we move back in time 1,5 years and we see a very ill Priscilla laying in a bed in the hospice. The two friends we saw at the grave come to visit her. This segment is very confronting compared to the previous ones. In the previous segments we heard other people talk about Priscilla’s illness, but now we are witnesses ourselves. These images of Priscilla in bed are very powerful and form a strong contrast to the footage of a healthy Priscilla in segment 8.

Up until this moment, not much attention is paid to the fact that Priscilla committed euthanasia. This changes in segment 9. In this segment Priscilla, while sitting in a garden, talks about her life. She witnessed her mother suffering from the same disease. Then she decided she wanted to “end her life in her own way without suffering”. Therefore she discussed euthanasia with her doctor. She would rather die at 26 while still being herself, then die at 30 after a long period of being in agony. She says it is not easy to choose your own death, but the good days do not compensate for the bad days. She is really ready to go and she is looking forward to it. This is a breaking point in the documentary. In this segment the motives for the euthanasia are elaborated upon. Shots of Priscilla talking in the garden are alternated with shots of her being very ill in the hospice. The arrangement of these shots create a very powerful argument. Hearing

Priscilla’s motivation, how she decided to commit suicide so she does not have to suffer, alternated with shots where she is obviously suffering very badly, makes it easy for the viewer to agree with her decision of euthanasia. Seeing someone so young suffering so much illustrates the

!48 of !114 importance of euthanasia. By convincing the viewer that euthanasia really was the best, and only, choice for Priscilla, the documentary offers a perspective that persuades the viewer to support euthanasia.

After this segment a few segments follow in which we get to know Priscilla better

(segments 10, 11 and 12). The woman from the beginning turns out to be Marja, who has always taken care of Priscilla as if she were a second mom. She talks about what kind of person Priscilla was. Marja’s daughter Christel also talks about Priscilla. She was a very licentious woman, who had many boyfriends and went out partying a lot. But deep inside she was a very sweet girl, who sometimes completely broke down. Getting to know Priscilla helps to create compassion for her.

This intensifies the emotional impact of Priscilla’s story. In segment 13 Priscilla tells about how the diagnosis of her illness influenced her life. She decided not to pity herself, but to accept her illness and to enjoy her life. The image that gets constructed of Priscilla is really engaging.

In segment 14, one of Priscilla's friends talks about Priscilla’s euthanasia while in the hospice’s hallway. She tells how Priscilla wants to be remembered for who she was, and not for her illness. They called Priscilla to congratulate her when she heard the euthanasia was approved. She is really glad for Priscilla, although it is hard to lose your best friend. The euthanasia really was

Priscilla’s last wish. During this friend’s monologue, we again see alternating shots of Priscilla suffering in bed. This segment works in the same persuasive way as segment 8.

After this, a few segments follow that continue on the topic of euthanasia. In segment 15

Priscilla and her friends sit in the hospice and talk about the euthanasia. Priscilla says it’s all getting so close now. Her friend asks if she is nervous. But Priscilla says she is not; she just thinks ‘Finally!

It is surreal but something to live up to, a new adventure. It can never be worse than life itself. I hope it is more beautiful than life on earth’. In segment 16 the friend in the hallway shares that it is unbelievable to lose your best friend. But what keeps her strong is that this is what Priscilla really wants. In segment 17 we see Priscilla in the garden again, saying she is not afraid to die. This is three days before the day of the euthanasia. She does not want to live on, so why would she wait until after her birthday? She decided to have the euthanasia on her birthday, so she can have her goodbye party and her birthday party at the same time. The supportive view of euthanasia is provided through the supporting characters who talk about Priscilla’s euthanasia. They do not approach euthanasia as something up for discussion, but as something normal that is part of life.

By approaching euthanasia as something indisputable, the documentary provides a positive perspective of euthanasia.

!49 of !114 In segment 19 Marja is telling how Priscilla took care of everything. If her euthanasia would not have been approved in the Netherlands, she would have gone to Switzerland. This is the only reference to the legal situation on assisted dying in Europe in the whole documentary. Marja is glad everything went exactly how Priscilla wanted and she is very grateful for the approval of the euthanasia. After this, in segment 19, Priscilla tells us that she will not postpone the euthanasia and that she fully supports it. She is ready, and she believes she is going to see her mom again, which keeps her strong. Since the viewer has created a bond with those two main characters, it is easy to agree with their opinions.

After this, a few segments follow in which we learn more about Priscilla’s life (segments 20,

21, 22 and 23). Christel and Priscilla talk about how she decided not to have children because of her low life expectancy. We also see her ex-boyfriend Patrick telling about their relationship. They also visit the beach together on one of Priscilla’s last days. As a viewer, we follow Priscilla’s life up to the day of her euthanasia. We experience the last days of someone’s life, as if we were there.

This creates a feeling of empathy for Priscilla and her friends and family within the viewer.

In segment 24 shows a bridge between the Priscilla and Patrick’s former relationship and her euthanasia. She says that she cried a lot when they broke up. Now, almost at the end of her life, she hardly cries. The comparison Priscilla makes between breaking up with her boyfriend and committing euthanasia, and telling how she was more sad about her break-up, shows us how badly she wants the euthanasia. This segment poses a strong argument. It puts breaking up and euthanasia on the same level, as if they are both normal parts of life.

In the next few segments we witness Priscilla’s party (segments 26 - 31). During these segments, there are some shots of Marja standing in the corner, not participating in the partying.

In segment 30 we see her in the garden, telling us: “I am mad, I am sad. But I am very happy that she did not have to continue suffering in that last year. I said to the doctor: If you don’t do it, I will help her. If the euthanasia was not approved, I would have done it.” This segment contrasts with the happy party footage in the other segments. It shows how important the euthanasia was to

Marja, and to the others. They really see assisted dying as having been Priscilla’s last option. In segment 31 Marja and Priscilla hug and Patrick sings for Priscilla. In this segment, the happy party mood makes room for a more sad mood. Most of the attendants cry.

In segment 32 we switch back to the hospice on the last day of Priscilla’s life. She tells how everything went as she wanted. “It couldn’t be any more beautiful.” It is very emotional, everybody is crying. In segment 34 the doctors come in to prepare the euthanasia. As soon as the

!50 of !114 moment is there, the camera crew leaves the room. The euthanasia itself is not recorded. The crew returns in segment 35 when we see Priscilla’s body on the bed, surrounded by flowers. Her family and friends are next to the bed and they kiss her goodbye.

After this, we witness her funeral. At the funeral party music is played, and people dance on their chairs. You can see that the funeral is, on the one hand, somewhat sad, but on the other hand also a kind of party. This shows how much Priscilla wanted to end her life; her euthanasia was the best end she could imagine and her funeral should celebrate that.

In segment 37 we again move ahead in time 1,5 years. The two friends are still at Priscilla’s grave. They say goodbye to Priscilla, and say “It would have been better if she could have been here.” The documentary ends with a segment in which Marja talks about the grave. The gravestone is a heart, which seems rather ironic to Marja because she knows Priscilla was not that sweet a girl. If Marja could have picked a gravestone, it would have been a witch with a broom.

She ends the documentary by stating that in the last two years, Priscilla was a midnight butterfly.

Then the credits start with shots of Priscilla partying. The documentary ends without returning to the subject of euthanasia.

§ 6.2 Invention

When we analyze the documentary, we can conclude Nachtvlinder uses proof, although it mainly uses pathos and ethos. The three different forms of proof in Nachtvlinder, logos, pathos and ethos, will be elaborated on below.

§ 6.2.1 Logos

Nachtvlinder does not use a lot of rational proof. As stated before, no direct discussion about euthanasia is seen in the documentary. The only information on euthanasia that is provided is through stories of the characters. Only in segment 18 does Marja say something about how

Priscilla would have gone to Switzerland if the euthanasia had not been approved in the

Netherlands.

§ 6.2.2 Pathos

The emotional proof in Nachtvlinder is much more important than the rational proof. In the documentary the viewer follows a few main characters; Priscilla, Marja and Christel, Priscilla’s two friends and, to a lesser extent, Patrick and Steffie, the younger sister of Priscilla. All the characters,

!51 of !114 except for Patrick, elaborate on her euthanasia at some point in the documentary. They are all very supportive of Priscilla and her decision to commit euthanasia. Especially Marja and Priscilla’s friends emphasize how important the euthanasia is to Priscilla, how it really was her last wish and how grateful they are that it was all approved. They provide this proof through telling personal stories. As a viewer, you are very affected by those stories. This ensures that as a viewer, you will support Priscilla and her relatives in her decision for euthanasia. It is very hard to disagree that euthanasia really was the best option for Priscilla.

Thus, a lot of emotional proof in favor of euthanasia is provided. Emotional proof against it, however, is not provided throughout the documentary. All the characters support Priscilla’s euthanasia. The documentary does not pay any attention to possible issues of euthanasia at all.

Because there is no attention paid to the counterarguments, it is therefore easier for the viewer to be persuaded to support euthanasia. Because there is only emotional proof in favor of euthanasia, it is evident that the perspective of the documentary is positive regarding assisted dying.

§ 6.2.3 Ethos

The ethical proof in this documentary supports Priscilla and the other characters. It is very easy to feel empathy towards Priscilla. At first she might appear to be a somewhat unpleasant young woman, because of her habit of partying all the time and her general attitude towards life. But as the documentary develops, we discover that this profligate attitude stems from the fact that

Priscilla already knew at a young age that her life expectancy was very low. She decided for herself that a serious relationship and the idea of having kids was not an option for her. She replaced this emptiness with partying. But as Marja and Christel tell us, deep inside she was a very sweet girl. Her decision for euthanasia seems like a very courageous decision, since she is such a young girl. The other characters give the impression to be very sincere. They obviously care a lot for Priscilla, as we can conclude from their stories. They talk about their feelings very honestly and they are not afraid to show their emotions. It is really easy to feel connected to Priscilla and her relatives because of this. The viewers get a feeling of admiration for the characters. This makes it easier to agree with their arguments about the euthanasia.

The documentary itself gives off an impression of discretion as well. When the euthanasia takes place the camera leaves the room. Although we followed Priscilla in the last days of her life, it is understandable that the euthanasia itself is not recorded. In previous Dutch documentaries euthanasia has been recorded, which was often very overwhelming and controversial. Since

!52 of !114 euthanasia is not presented as something extraordinary in Nachtvlinder, the documentary does not need to show it to make a statement. The ethical proof in Nachtvlinder increases the credibility of the documentary and makes it easy for the viewer to agree with Priscilla’s choice.

§ 6.3 Style

As stated above, Nachtvlinder supports assisted dying by approaching euthanasia as something normal. The style in Nachtvlinder supports this image. The paragraphs below will elaborate on how style functions to construct the perspective of the documentary.

§ 6.3.1 Mise-en-scène

In Nachtvlinder the selection of the characters is based on the people who were close to Priscilla during her last days. This was therefore a rather natural selection by the filmmaker instead of a specific selection. Of course, it is possible that the filmmaker left out some characters on purpose.

All the characters supported Priscilla’s euthanasia, and are very likely to support assisted dying in general. By only showing the stories of people in favor of euthanasia, and excluding possible opponents, the documentary offers a biased perspective on assisted dying. We do not know whether this is an intentional decision by the filmmaker or simply a consequence of there not being any opponents.

Another aspect of mise-en-scène are the locations. The locations itself are not really striking.

Some places are very logical places considering Priscilla’s activities, such as the beach and nightclub she visits. The only very significant location is her grave which is visited by the two friends. This might be a carefully selected location by the filmmaker. It is a very confronting location in the beginning, because it is where we learn of Priscilla’s the euthanasia. It is also the location where the documentary ends.

The lighting of Nachtvlinder is not striking either. The documentary just uses natural lightning, which fits the observational approach of the documentary.

§ 6.3.2 Cinematography

Nachtvlinder uses a rather observational approach. Rather than directly posing an argument on assisted dying, the film’s strength instead lies in the emotional impact of the characters’ stories.

The impact of these stories is intensified through the cinematography. The documentary uses a lot

!53 of !114 of close-ups and medium shots. This creates a feeling of closeness. The camera angle intensifies this feeling of closeness. Almost all the shots are taken at eye level, which creates the impression of a point-of-view shot. The cinematography gives the viewer the impression that they are one of the attendees. This really intensifies the emotional proof of the documentary. The viewer is more easily persuaded to support the characters in their decision regarding euthanasia.

§ 6.3.3 Editing

Most of the editing in Nachtvlinder is not really striking. The editing uses a lot of slow cutting. This intensifies the feeling of being one of the attendees because the editing feels very natural and not dramatized. There is only one very notable editing construction in Nachtvlinder. During several segments, when Marja and Priscilla are talking in the garden, the shots are alternated with shots of

Priscilla lying in bed in the hospice. Those shots form a stark contrast. The impact of their stories of the disease, the suffering and the euthanasia, is enhanced by confronting the viewer with the severity of Priscilla’s condition. It is really confronting to see a rather happy Priscilla talking, followed by a shot of her suffering maybe one day later. This construction is used to commiserate with the characters. It really supports the arguments the characters make about the euthanasia because we witness for ourselves how bad her condition is. This really persuades the viewer to support euthanasia.

§ 6.3.4 Sound

The documentary uses music, but it is not a leading factor in persuading the viewer to support euthanasia. It has a rather supportive function for the narrative. Most segments don’t use any music, so the stories told are the focal point. It also supports the natural feeling of the documentary. Some segments, mainly the more emotional segments, use some soft piano music.

This supports the emotional proof of these segments. The soft piano music might set an emotional mood which makes the story more persuasive. This type of music is also used in segment 34 when the euthanasia takes place. Rather dark piano music supports this segment.

This sets an emotional and mournful mood.

Besides piano music, some party music is used. This music fits very well with the partying life style of Priscilla. It also fits the segments when Marja tells about what kind of person Priscilla is.

By using this party music, the documentary creates the feeling that it really tells the story of

Priscilla, because her music interests are included in the style.

!54 of !114 By not using very notable music, the observational approach is supported. The story of

Priscilla feels very natural to watch, because it is not exaggerated with music. This matches the natural mise-en-scène, cinematography and editing of the documentary.

§ 6.4 The argumentative structure of Nachtvlinder, de laatste dagen van Priscilla

After analyzing which perspective is provided in the different rhetorical categories, we can now begin to construct the argumentative structure. The main argument of the documentary is:

‘Assisted dying is something normal and we should not discuss it anymore because everyone should have the right to choose it.’ There are a few arguments used to support this claim: - No one should suffer unbearably - One should be able to end their life while being happy - One should be able to end their life in their own way, and be remembered as the person they were and not as an ill person All these arguments are substantiated through the direct observation of the last days of Priscilla.

Her personal testimonies and those of her family and friends provide these statements. They support these arguments by making statements such as: - It is a fairytale - It couldn’t be any more beautiful - It is her last wish, it is all she wants

The documentary does not provide any counterarguments at all. This make it a very one-sided argumentative structure, only providing arguments in favor of assisted dying. This supports the main argument that we should not discuss assisted dying because the documentary itself does not discuss assisted dying either.

§ 6.5 The perspective of Nachtvlinder, de laatste dagen van Priscilla

After analyzing Nachtvlinder we can conclude an clear perspective on assisted dying is given.

Rather than directly posing an argument on assisted dying, the film’s strength instead lies in the emotional impact of the characters’ stories. By showing the exceptional story of a young girl who has a very low life expectancy and decides to commit euthanasia, the viewer is confronted with euthanasia without being directly approached with arguments about it.

!55 of !114 No attention is paid at all to the fact that there might be some issues regarding assisted dying. The documentary does not directly provide arguments to convince the viewer of the importance of assisted dying. It actually does not provide any direct arguments at all. The absence of those arguments is actually the biggest argument of the documentary. The documentary argues that euthanasia is not something that should be discussed about because it is very normal thing to do.

§ 6.6 Nachtvlinder, de laatste dagen van Priscilla and the debate in the Netherlands

As stated before, the documentary does not pay direct attention to the issues and debate concerning assisted dying. By doing this, the documentary actually places itself in the debate on assisted dying in the Netherlands. Euthanasia has been legal in the Netherlands since 2002.

However, as we discovered in the discourse analysis in chapter two, the debate did not stop after the legalization. The documentary reacts to this ongoing debate by indirectly suggesting that the debate around euthanasia should stop because euthanasia should be totally accepted by now.

As we have seen, a lot of documentaries on assisted dying, and especially euthanasia, have been produced in the Netherlands before Nachtvlinder. Many of those documentaries had the goal of making a point of euthanasia, for example, to incite a law change. This documentary almost seems to be intended as a sort of closure to the ongoing debate on assisted dying. This may be because it has been legal for over 10 years now, and the majority of the Dutch population supports euthanasia.

We can conclude that the documentary was produced as a reaction to the ongoing debate, socially, politically and through documentaries. The viewers are persuaded not to see euthanasia as something up for discussion anymore, but to accept it as a normal part of life. The documentary is therefore heavily connected to the debate in the Netherlands, although the film itself does not pay any attention to the debate.

The documentary has not caused a big effect on the social debate so far. The documentary was praised for being touching and beautiful (Wiskerke). The documentary received the Gouden Dolfijn award at the Cannes Film Festival for best documentary in ethnology and sociology (Redaction Parool). It makes sense that the documentary did not have a big effect, since it aimed to stop the ongoing debate and wanted to show the story of Priscilla.

!56 of !114 Conclusion

After analyzing the three documentaries’ perspectives on assisted dying, we can conclude that all three construct an explicit perspective through the different rhetoric categories. All of them provide a supportive perspective regarding assisted dying and all of them attempt to persuade the viewer to adopt this perspective. This, however, is achieved through very different rhetorical strategies.

The documentary Terry Pratchett: Choosing to Die from the United Kingdom takes the viewer along on the personal journey of the very likable Terry Pratchett who considers assisted suicide himself. The viewer is mainly persuaded to adopt a positive perspective on assisted dying through the emotional proof the documentary provides. An emotional bond is created between the viewer and the characters. The arguments in favor of of assisted dying are embodied in the very personal and touching stories of those characters. The viewer is persuaded to agree with those arguments because they will emphasize and support the characters and agree with their decision to end their life. The other rhetorical strategies, such as arrangement and music, intensify the emotional impact. The main argument of Terry Pratchett: Choosing to Die is that everyone should have the right to choose his own death, including the citizens of the United Kingdom.

The documentary Dignitas, La Mort sur Ordonnance from Switzerland uses a completely different persuasion strategy. This documentary creates the impression of being an objective report on assisted dying and the Dignitas organization. The most important rhetorical strategy used here is the very reliable voice-over. The other rhetorical categories such as cinematography and music also help to create this objective feeling. However, after a close rhetorical analysis, we can conclude that this documentary is not as objective as it seems. Very subtly, through providing arguments in favor of assisted dying through personal persuasive stories, the documentary persuades the viewer to support Dignitas and assisted suicide. Dignitas is portrayed as the ultimate solution for people who do not want to live on. Any counterarguments are very briefly touched upon. The main argument of Dignitas, La Mort sur Ordonnance is that the suicide tourism is something valuable and that Dignitas is an initiative that should continue to exist.

The documentary from the Netherlands, Nachtvlinder, de laatste dagen van Priscilla, uses a third, also very different, persuasion strategy. This documentary mainly persuades the viewer to adopt a positive perspective of assisted dying by not directly providing arguments in favor of assisted dying. The film pays just as much attention to the fact that Priscilla will commit euthanasia, as it does to other facets of her life, such as her partying lifestyle, her ex-boyfriend

!57 of !114 and her not wanting any children. This puts euthanasia in a position where it is not to be seen as something special, but rather as ‘just another part of life’. The viewer creates an empathic band with Priscilla and her relatives throughout the documentary. As a viewer, you feel a certain reverence for the brave decisions such a young girl made. It is easy for the viewer to support her choices and therefore also support her choice for euthanasia. Supporting the choices for euthanasia is relatively easy for the viewer since the film does not address any issues or problems regarding assisted dying. The main argument of Nachtvlinder, the last days of Priscilla is that assisted dying, and in this case euthanasia, should be considered normal and the debate around it should end.

It is possible to state that the emotional rhetorical strategies are the most important in persuading the viewer. People are often more swayed by emotions than by their reasons, as

Nichols states (79). The discourse of assisted dying itself also carries an emotional load. The most touching cases of assisted dying often caused the most social unrest. This sometimes lead to legal changes. The documentaries use a lot of emotional proof and touching stories to create a big emotional impact.

All the documentaries are produced in response to the debate at the moment of production. The documentaries all persuade the viewer to take up a certain position on the social issue of assisted dying. As the previously cited philosopher Aguayo stated, documentary films have a history of prompting critical deliberation and activism. They have often led to social unrest. This is very likely the intended goal for Terry Pratchett: Choosing to Die as well. Dignitas, La Mort sur Ordonnance, is less likely to have been produced in order to lead to activism in Switzerland, but actually wants to end the activism and social unrest around Dignitas. But is does to a certain extent encourage critical deliberation on assisted dying in Germany and France. Nachtvlinder, de laatste dagen van

Priscilla also intends to end all the social unrest regarding assisted dying. Aguayo also stated that recent documentaries often function as a springboard for public debate in practice, something we can agree on after analyzing those three documentaries (33-34).

This research made it possible to answer some of my personal questions that came up at the IDFA about documentaries on assisted dying. The topic of assisted dying is heavily debated in different European countries at the moment of writing this thesis. The large amount of documentaries on assisted dying were produced in response to these debates. The strong connection between documentaries and their social, political and legal context explains why so

!58 of !114 many of them were produced in the last few years. And since the debate will possibly go on for quite some time, I expect many more documentaries to be produced on this topic.

Even though only three documentaries have been analyzed, this research shows how much documentaries on social issues can be related to the social and political debate around those issues. We can gain a much better understanding of those documentaries if we analyze their connection to the debate. This can tell us a lot about how and why the viewer is persuaded to adopt a specific point of view. The documentary itself also represents the social and political situation of the country where it was produced. By only watching the documentary, we gain a lot of information about the situations of assisted dying. This research shows that it is very valuable to analyze documentaries on social issues in a broader context.

An analysis of the documentaries within a rhetorical framework shows that they differ in the extent to which they use rhetorical strategies to persuade the viewer. Terry Pratchett: Choosing to

Die is the most rhetorical documentary, presumably since it insists on making a point, more so than the other documentaries. It has hopes to cause social unrest and eventually hopefully change the law. The other two documentaries also use rhetorical strategies to provide a perspective, but to a much lesser extent. However, applying a rhetorical framework on all of those documentaries is a very suitable method which provides a valuable outcome.

This study offered a different perspective on analyzing documentaries. Instead of viewing documentaries only in relation to the media discourse and other documentaries, they are placed in a broader legal, social and political context. I hope to have demonstrated the value of this different perspective on documentaries with this study. Using a rhetoric framework was very fitting in this research. I would use the same method in a possible follow-up study.

However, the method used in this study has some downsides. First of all, only researching three different documentaries can never provide a completely representative outcome. Yet the outcome of this research indicates how persuasive certain perspectives in documentaries can be and how these documentaries can be related to the debates around social issues. This research demonstrates that the method is efficient and could be applied on a larger case study for a more representative outcome. Furthermore, because it is a qualitative research, the outcome could be slightly subjective. However, the analysis is done according to a method outlined in advance, which leaves very little room for different interpretations. For further research it would be very valuable to include empirical research in this study. Also contextualizing the documentaries in a

!59 of !114 broader media discours might strengthen the evidence base of this study. Placing the documentaries in relation to other, older, documentaries might provide a better understanding of the way documentaries can function in a broader context.

!60 of !114 Bibliography

Filmography Dignitas, La Mort sur Ordonnance. Emmanuelle Bressan-Blondeau and Jean-Bernard Menoud. Radio Télévision Suisse, 2010.

Dood op Verzoek. Maarten Nederhorst. Ikon, 1994.

Nachtvlinder, de laatste dagen van Priscilla. Peter Bosch. NCRV Dokument, 2013.

Terry Pratchett: Choosing to Die. Charlie Russell. BBC Scotland, 2011.

Scholarly sources Aguayo, Angela J. Documentary Film/Video and Social Change: A Rhetorical Investigation of Dissent. Austin: University of Texas, 2005.

Blakesley, David. The Terministic Screen: Rhetorical Perspectives on Film. Illinois: Southern Illinois University Press, 2003.

Bordwell, David, and Kristin Thompson. Film Art: An Introduction. Ninth Edition. New York: McGraw-Hill, 2009.

Burkhardt, S., and R. La Harpe. “Debates about assisted suicide in Switzerland.” Am J Forensic Med Pathol. 33.4 (December 2012): 410-3.

Corbett, Edward Patrick Joseph. Classical rhetoric for the modern student. New York: Oxford University Press, 1965.

Gries, Laurie E. “Emerging Methods of visual Rhetorics.” JAC. 29.1/2 (2009): 437-450.

Hesling, Willem. Retorica en film: een onderzoek naar de structuur en functie van klassieke overtuigingstrategieën in fictionele, audiovisuele teksten. Leuven: Katholieke Universiteit Leuven, 1985.

Hesling, W., and J.M. Peters. Audiovisuele retoriek. Leuven: Katholieke Universiteit Leuven, 1985.

Hitchcock, David. "Good Reasoning on the Toulmin Model”. (1 June 2005). OSSA Conference Archive. Paper 63. http://scholar.uwindsor.ca/ossaarchive/OSSA6/papers/63.

Humphry, Derek. The Good Euthanasia Guide. Oregon: Norris Lane Press, 2008.

Kennedy, James. Een Weloverwogen Dood. Amsterdam: Uitgeverij Bert Bakker, 2002.

!61 of !114 Kress, Gunther, and Theo van Leeuwen. Reading Images: The Grammar of Visual Design. Second Edition. London: Routledge, 2006.

Lucaites, John Louis, and Robert Hariman. “Visual Rhetoric, Photojournalism, and Democratic Public Culture.” Rhetoric Review. 20.1/2 (2001): 37-42.

Medhurst, Martin J., and Thomas w. Benson. “The City: The Rhetoric of Rhythm.” Communication Monographes. 48 (1981): 54-72.

Nichols, Bill. Introduction to Documentary. Second Edition. Bloomington: Indiana University Press, 2010.

Puppinck, Gregor, and Claire de La Hougue.”The right to assisted suicide in the case law of the European Court of Human Rights.” The International Journal of Human Rights. 18.7/8 (2014): 735-755.

Schapowal, Andreas. “Analyse der aktuellen medizinethischen und politischen Diskussion der Euthanasie-Debatte in der Schweiz.” Medizin & Ethik. (2003).

Scott, Linda M. “Images in Advertising: The Need for a Theory of Visual Rhetoric.” The Journal of Consumer Research. 21.2 (1994): 252-273.

Smith, Greg M. “The Segmenting Spectator: Documentary Structure and The Aristocrats.” Projections. 1.2 (2007): 83-100.

Legislation Swiss Criminal Code. (Switzerland, applicable on January 2015). Available at https:// www.admin.ch/ch/e/rs/3/311.0.en.pdf.

The Penal Code and Subsidiary Legislation. (United Kingdom, revisited 2008). Available at http://agc.gov.ms/wp-content/uploads/2010/02/penal_code.pdf.

Wetboek van Strafrecht. (Netherlands, applicable in 2015). Available in Dutch at http:// wetten.overheid.nl/BWBR0001854/Opschrift/geldigheidsdatum_29-05-2015.

Wet toetsing levensbeëindiging op verzoek en hulp bij zelfdoding. (Netherlands, 2001). Available in Dutch at http://wetten.overheid.nl/BWBR0012410/geldigheidsdatum_29-05-2015.

Journalistic sources Addley, Esther. “Pratchett’s journey reopens debate on assisted dying: Fantasy writer’s film shows Dignitas death of man with motor neurone disease.” The Guardian. 7 June 2011.

Beckford, Martin. “Baroness Warnock: Dementia sufferers may have a ‘duty to die’. The Telegraph. 18 september 2008.

!62 of !114 Belluck, Pam. “More People Going to Switzerland for Assisted Suicide, Study Finds.” The New York Times. 20 August 2014.

Boseley, Sarah. “Majority of doctors opposed to assisted suicide.” The Guardian. 24 March 2009.

Epstein, Robert. “Terry stares death in the face - and opens all our eyes.” The Independent. 19 June 2011.

Hough, Andrew. “Sir Terry Pratchett defends BBC assisted suicide film amid backlash.” The Telegraph. 14 June 2011.

Morris, Steven. “British husband and wife helped to die at Swiss clinic.” The Guardian. 6 March 2009.

Parryt, Tom. BBC in assisted suicide storm; copycat deaths fear over ‘one-sided’ Pratchett film. Daily Mirror. 15 June, 2011.

Redaction Parool. “Documentaire over terminale Amsterdamse Priscilla wint prijs in Cannes”. Het Parool. 6 October 2014.

Redaction The Telegraph. “Terry Pratchett assisted suicide documentary Choosing to Die wins Grierson British Documentary Award. 7 November 2012.

Rickett, Oscar. “The Man Behind Terry Pratchett’s Suicide Documentary.” Vice.com. 15 June 2011. 12 April 2015. .

Schoots, Hans. “Eenzijdig euthanasiedebat.” Historisch Nieuwsblad. June 2011.

Syal, Rajeev. “Call for euthanasia to be legal in UK.” The Guardian. 19 October 2009.

Thomas, Liz. “BBC films man taking his life.” Daily Mail. 15 April 2011.

Voortman, Linda. “Politiek keert burger rug toe in euthanasiedebat.” Trouw. 19 December 2013.

Wiskerke, Reina. “Nachtvlinder”. Nederlands Dagblad. 29 June 2013.

Online sources Baroness Warnock. Parliament. 23 March 2015. .

Bosch Film. n.d. Bosch Film BV. 8 May 2015. .

Charlie Russell. n.d. Internet Movie Database. 12 April 2015. .

!63 of !114 Dignitas, la mort sur ordonnance. n.d. RTS. 28 April 2015. .

Dood op Verzoek (1994). The End. 31 March 2015. .

Euthanasia and assisted suicide - Arguments. 2014. National Health Service Choices. 22 March 2015.

Exit - Le Droit De Mourir (The Right to Die). 2014. The End. 28 March 2015. .

Film, Made for TV Dramas, TV Documentaries and Videos Dealing with Dying and Euthanasia. 2014. Euthanasia Research & Guidance Organization. 21 March 2015. .

Goodbye my Love. 2014. The End. 24 March 2015. .

Hello Goodbye. 2014. The End. 28 March 2015. .

I Helped My Daughter Die (2010). 2014. The End. 24 March 2015. .

I Thank a Fool. 2014. The End. 24 March 2015. .

NPO Dood op Verzoek. 2012. Nederlandse Publieke Omroep. 10 March 2015. .

Overzicht Documentaires & Films. 2014. The End. 21 March 2015. .

Starmer, Keir. “Decision On Prosecution - The Death By Suicide of Daniel James.” The Crown Prosecution Service. 9 December 2008. 23 March 2015. .

Sterbehilfe. 2009. Informationsplattform Humanrights. 29 March 2015. .

Way to Go. 2014. The End. 24 March 2015. .

!64 of !114 Appendix one: Segment analysis Terry Pratchett: Choosing to Die.

Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

1 00:00 Terry in a dark Mumbling of Terry and the Piano music - Heavy room with a crew. bit emotional emotions few white though slow lights. “My name is Terry and personal Pratchett and I Write talking of Terry. close up of his fantasy novels for living. I Piano music face. Then a am 62 and I was makes it shot of half his diagnosed with Alzheimer’s impressive and body. three years ago. emotional in Sometimes, particularly combination 00:38 - Terry when I am depressed, I with the dark walks around dread what the future may room and the hold. And it occurred to bright lights on Then extreme me that in these modern the side that close ups of his times one should not have remind a bit of face to fear that sort of thing. I the ‘tunnel of am talking about assisted death’. Directly 01:28 - Titel on dying, which is currently approaching screen not legal in this country. the viewer. The What you are about to subject is direct watch may not be easy but clear and the I believe it is important. juridical The people I will meet in situation aswell. this film are all like me considering how they will die. Is it possible for someone like me, or like you, to arrange for themselves the death that they want?”

!65 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

2 01:33 We see an Mumbling of Terry and his A bit more Very personal English garden assistent Rob. Then you happy harp approach with a tiny bit hear them talking about music. of snow. And a their most recent book. typical english house. Then First as voice over, then Terry inside his alternating back to the house. We see talking head as in the Terry with his beginning: Terry tells assistant and about how his Alzheimer’s alternating a influence his life currently. talking head of He can’t remember your Terry in the name, he can’t type etc. dark room. He says that when he can’t write his books anymore, he is not sure he wants to go on living. “I want to enjoy life, for as long as I can squeeze the juice out of it. And then, I would like to die. But I don't quite know how, and I am not quite sure when.”

!66 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

3 03:12 Water The sound of the water Music swells He starts with smashing the on, drumms the contra- coast. Terry and arguments. Rob sitting at a Voice over: Proof! bench on the “there are bay. We also plenty of see the bay. people in this country who are against assisted dying. He explains the arguments of the opponents of assisted dying - The fair of opening the flood gates To wide spread killing of the vulnerable. How to guarantee sincere consent? And what happens to those who are left behind? He admits it is a delicate subjects but he wants to know the options because of this Alzheimer’s.

!67 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

4 3:50 Terry in a dark Navigation System Music goes on Juridical car. They arrive Voice over: he situation is at the house of Converstation about a cup tells about the pointed out. Peter Smedly. of tea between the wife of man who he is About the 14 We see Peter, Peter and Terry. Terry and going to meet. year Terry and Peter joke about their He introduces imprisonment Peters’ wife deceases. Name of Peter Dignitas. Music rule. Terry inside. The in house. starves away. points out his camera is problems with constantly Peter tells about his dignitas. Terry pretty close - decease and how his life is not we see their expectation is short. He completely heads and immediately contacted supporting that sometimes a Dignitas because it is a initiative. small peace of beastly end of his life. He their shoulders. sees Dignitas as a way out. To be free. The wife is supportive. They go to Switzerland and then decide if he goes on or not, to avoid juridical problems. The wife tells about how her mother wanted to die. She compares it with how we put animals to and end if they are suffering, but nog people.

Terry explains his ‘problem’ with dignitas: in his opinion its a one-stop-shop, a machinery. He compares it with the business of the nazi’s.

!68 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

5 07:46 Tour through Peter tells about their Music starts Personal bond the house of business. They are very again. Soft, with Peter and the Smedlys. successful and rich. happy, harp his Wife. The The wife of music - of and importance of Peter. on. Voice over assisted dying off Terry about becomes more the house of clear: not the Peters. suffering is “and you think, more important the have got it that money or all.” He states success. that since Peter has that much money, you could think” why would you think of assisted dying?”

6 9:13 Peter and his Mumbling of Peter and his The music Close-up shots wife are leaving wife. Background sounds becomes more of the faces. A the house. in the restaurant. Peter intense, less lot of emotion Peter has tells about how he fell and happy. Music on the faces of serious how he could not get up starves away Peter and his difficulties to by himself. Peter looks for when in the wife. Close up walk. His wife the point in life where he restaurant. of hand of helps him. can’t risk leaving it any When they peter and his Then they are longer, that is his deciding shake hands, wife strongly at a restaurant. factor. Terry states that the music clinched to Peter stands up both Peter and his wife are swells on. Very each other. with a lot of very calm under their emotional, sad help from his decision.Peters wife that violin music. wife while they have to because if sighing a lot. they get too emotional, Terry and Peter they will both fall apart. shakes hands But they are vulnerable after dinner to underneath. And if Peter say goodbye. decides at Diginitas that he does not want to go on with it, thats fine with her.

!69 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

7 10:58 Peter and his First the text of Terry is in Harp and violin Again about wife leave the voice over- then it is music on the the law. Very restaurant. diegetic sound in the dark background. close up of the Terry tells, also room. he is strucked that Peacefully face of Terry. with the ‘talking Peter is going so early to music. The music plays head in dark protects his life. “The law Underneath the an important room’ according assisted dying, line: however, it role here. Or construction is not entirely clear-cut. If remains illegal, actually the again. you do help somebody to the music abstinence of commit suicide, you may suddenly stops. the music at be prosecuted. If your the endow his motive was love or monologue. compassion, then this will be taken into account. However, it remains illegal.”

8 11:30 Train arriving. Train sounds - intercom Loud music, Close up of the Terry is in the etc. Terry in the train tells piano. Voice sign: train with his about he visiting Belgium over Terry: nooduitgang assistent Rob. and paying a visit to the about the laws (emergency widow of the writer Hugo on assisted exit) in the train Claus. He choose an dying in - very assisted dead, he also had belgium. The meaningfull!. alzheimers. music really swells on after his monologue.

!70 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

9 12:14 Terry walks The wife of Claus, Veerle, When he is in Really close-up through a tells about the disease of the house of shots of their hallway. Then her husband. Terry askes the widow of faces again. he meets the questions. Veerle tells Hugo Claus, When Veerle widow of Hugo about how Claus said: If I the music tells, we see Claus. Veerle have alzheimers, I will not suddenly Terry’s face, and Terry talk go on to the bitter end. chances to heavily thinking about the They also talk about the more about what she death of Claus. moment Claus died. Veerle emotional, sad, says. Much They have an went to the hospital with violin music. close ups of emotional him, with a bottle of This starves Veerle smiling goodbye in champagne and sigarette. away when the when she tells which Veerle Then he wanted to lie wife of Claus and afterwards. wishes Terry a down. Veerle lied down starts to tell. Close up of lot of luck. herself next to him, and The violin pictures of she sang a song for him music starts Veerle and and his started singing again after Claus. with her. He died singing. Veerle tells Veerle tells it made hes about the sad, but she was glad for dying. her husband. She doesn’t understand how people be against it because it was so warm and so nice.

10 15:12 Terry outside of “what an astonishing lady. I More happy, Terry almost the house of can’t tell you how good it violin music, has to cry in Veerle. was to talk to her. My wife starts. this part. will not object my ultimate decision.” We also hear street sounds.

!71 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

11 15:48 Picture of Terry Guitar music He point at that and his wife. plays. Voice even his wife is Terry then sits over: “My wife not really in his car and is not a fan of supporting we see shots of assisted dying, assisted dying. the and would He gives neighborhood. rather not talk attention to the He is on his about it on contra sounds way to an camera. Like as well. hospice. me, there are some thing about assisted dying that she is nervous of. I think my wife would prefer to look after me during my illness, until the very end.” He explains that al alternative to assisted dying is, living in a hospice.

12 16:40 He arrives at He speaks with Mick, it No music. They provide the hospice starts a bit humourish. Music starts alternate and meets They talk about his happy after the options to Mick, who has memories. Terry explains conversation. assisted dying. the same his happy memories Very close-ups disease as disappear. Mick thinks of faces and Peter. assisted suicide should be the shaking allowed. They also talk hands of Mick. about what Terry is afraid But even the of. He also says: “If ones who do someone decides they not want to want to go, then they commit should be allowed to assisted dying, peacefully”. He does not are supporting want his wife to take all the the option. work.

!72 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

13 19:22 Terry in the In the dark room Terry Partly the Critic on the dark room and explains that he thinks monologue of situation in in a train/car. everybody needs to be Terry is in voice Britain. able to make the choice over. Music is for themselves. But that going on. there are people who feel that they have no choice at all. He tells that in Britain the only option is to commit suicide yourself. He came across suicide many times as a journalist. He is very critical towards it.

14 20:14 He visits He talks about MS with Voice over of They talk about Andrew who is Andrew, about how his life Terry about it in a not heavy suffering from is influenced. Andrew is who he is going way - laughing MS. afraid things will be worse. to visit. No etc. He does not want to life music anymore. the life he has now. He has When Andrew tried to kill himself 2 times, announced but he failed. Once with when he will go morfine. He thinks: why to Dignitas (the shouldn’t I? He already has coming picked a day. Sunday), the harp music starts again.

15 22:52 Terry in the He is astonished. He thinks Loud music. We obviously garden of Andrew is very likely. He Background see how hard Andrew. He obviously has a hard time sounds - something as walks around accepting the decision of children playing assisted dying thinking. Andrew. But he says he outside. Voice is for the have to accept that it is over: he people around someones decision. discovered that the patient. Peter and Christine have also booked a flight to Switzerland, in the same week as Andrew. He goes to follow them to find out about assisted dying for himself.

!73 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

16 24:03 Rob and Terry Rob, Terry’s assistent talks Heavy music Very Dark travel to about how he feels. “It with drums, shots. Attention Switzerland. feels so wrong”. Terry says violin etc. Voice to the debate he has a lot of questions over: Terry talks around he hopes to get answers about how mentally ill from. Rob and Terry talk Dignitas is the patients to about Dignitas in the car. only clinic that commit suicide. They exchange some helps Information information about it. How foreigners. about Dignitas. 21% of the patients is not terminally ill. Terry raises questions about mentally ill people committing assisted suicide.

17 25:59 Terry and Rob They talk about the Music turns They provide meet Ludwig, organisation. Ludwig states softer, guitar facts - proof. the secretary that in article 8 of the and harp. Voice Attention to general of Human Rights there is the over Terry: international Dignitas. Shots right to self determination. about the law. of the files of “an actual human right to process at the members - die”. dignitas, the a lot! price etc. And how much people they helped to die. Music stops when Terry and Ludwig start talking.

18 27:45 Terry goes with Ludwig tells about the Voice over: Ludwig to the house and his love for tea. Terry tells ‘dying house’ about the for foreigners house. of Dignitas. Piano Music. Shots of the Then harp landscape. music comes in as well.

19 29:09 Terry is in the Sounds of drinking tea. Music starves A lot of blue dying Ludwig shows them away. Voice information house with around in the house and over Terry: about the Ludwig and tells about the process. more about the process - proof. Rob. process. Rob obviously finds it hard to be there. Very close-ups again.

!74 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

20 31:18 Terry in the He shares his opinion Harp music This shows that backyard of the about the house and starts again. Terry is not house. Dignitas. The argument of entirely Ludwig that everybody convinced and should have the right to an that there are assisted death, worries some serious Terry. “I do not want to live worries about in a world where anyone it. Not all could die more or less at positive. any time, more or less at a whim. Maybe there are better ways of doing it”

21 31:58 Terry is on his Mumbling of Rob and Loud harp and More about the way to Peter Terry. Peter is being assest. huitar music. juridical and Christine in Peter and the doctor talk Voice over: process in Switzerland. about how he feels about Terry tells Switzerland. Peter is being it and the disease. They about his visit Shot of assest by a talk about the poison and and how Peter Christine in the doctor, he has the process. was about to dark, very sad to practice the be assest by a impression. drinking of the doctor hired poison. from Dignitas. He explains how to doctor had to make certain that Peter was of solid mind and he understood the process of drinking the poison. Music stops when Peter and the doctor talk, after that it starts again - very slow and sad.

!75 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

22 35:00 Terry and Rob Terry talks about how he Voice over: This shows how go to Andrew, had to say goodbye to Andrew has emotional it all also Terry in the Andrew. He sighs deep green light and is. Not a light dark room. and is obviously emotional is due to die decision. Rob is about it (in the dark room). the next day. obviously Terry and Rob reflect on it Piano music worried and in the car. Rob is very starts after the negative. negative about it, on how conversation. it is for his family. Terry talks with Andrew about how he feels now. Rob speaks out his worries and offers alternatives. But Andrew is certain on it.

23 38:17 Terry meets Terry speaks with his Although she is Andrews mother. Why she is here: to not supporting mother. Then support him. She thinks its her son he says a selfish and not loving completely, she goodbye to thing to do of Andrew. But is supporting Andrew. she also knows she has to the option. go on with it - because his quality of life is not bearable. She thinks it is everybody's right to decide for himself.

24 39:58 Terry and Rob Deep sighs of both of Very dark, sad Very dark shot in a car after them music. the meeting with Andrew. They are obviously really affected by the situation.

!76 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

25 40:13 Terry talks “There is a young man Lighter music, Light shots. about Andrew. who is going to die the same style Close ups of He listens to a today”, Terry. Terry tells as de segment the emotion on CD with Rob of that Andrew is probably before but with Terrys face. the favorite gone by then. We hear higher music of one of the songs from the notes.The Andrew that CD of Andrew. Terry sighs music starves Andrew gave a lot and cries a bit. Then away when him. he toasts to Andrew. “ To Terry starts Andrew, wish you were in talking. The England”. song of Andrew starts diegetic and then turns non-diegetic. The music stops before Terry toasts.

26 41:59 Rob and Terry The doctor explains how it Lighter music, visit Peter is hard for her to decide if with percussion again. The people like Peter can do starts. Voice doctor is there assisted suicide. She talks over Terry: again. with Peter about how sure about how he is he is and how he has to going to meet make the decision. The Peter again. doctor says it is much easier for the ones that go, than for the ones that stay behind. The wife of Peter says wants him to wait.

!77 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

27 43:32 Shots of the Terry states that Alzheimer “Peter seems Very personal surroundings, is not physically painful. to have made approach from the water and The doctor explains that if his decision. Terry. the trees. Terry you wait to long, your But the choices talks with the mind won’t be clear for me are still doctor of Peter enough anymore to uncertain. My about his decide. The doctor states Alzheimers Alzheimers. that she would not complicate administer the medicine matters. I herself. decided to asks the doctor whether one day she would ever be able to help me. Voice- over Terry. Soft guitar music before the conversation. After the conversation, soft piano music starts.

!78 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

28 45:21 Terry in the The voice over now and Soft piano Very personal dark room. He then turns in to diegetic music again. Only is obviously sound. After the voice continues. “The close-ups of his thinking very over: problem with face. The deeply. He is “I think I am going to see a Alzheimers is emotion also in man die today… at his that by the time becomes very transport with own request.” you are actually clear. He is shots of the ready to ask for having a hard streets. an assisted time thinking death, you may about his not be able to options. speak and so will the alzheimers patient would have to die earlier than might really be necessary. I realize that in many ways my situation is just like Peters. I asked Peter and Christine if I could accompany them on the following day.. And they agreed.” After the “I am going to see…” The music turns darker and sad.

!79 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

29 46:27 Terry and Rob Sights, background sounds Lighter music. When this are driving to of a their footsteps. Talking It starves away. segment starts, the dying of the staff. Terry tells that When the staff the screen house, it is they are pleasant people, members because white snowing. They but what is going on is not leaves to for a split- arrive at the really a light matter. prepare the second. Terry house and are Christine and Peter talk drinks, we hear seems very un- being about the wetter. They sit a some slow, understanding welcomed by table with coffee. A electronic of the whole staff of member of dignitas asks tones. situation. He Dignitas. Peter Peter if he is sure about is, quietly and Christine and he says he is. Terry observes. This arrive. They observes them and says segment is very seem quite how he can’t believe the less ‘close’ - happy. They calmness. It seems to him not that much have to fill in if they have a tea-party. We close-ups. It is some papers. hear talking between Peter way more and the Dignitas staff. One distanced. of the staff members announces she is going to prepare the drinks. Peter has to drink a first drink.

30 50:21 Terry at the They talk about the drinks First no music, More close- table with Peter that Peter has to take and then slow, sad ups. Close ups and Christine. about chocolats. The staff music starts. of Peter and his The eat some member asks Peter again if Not really wife holding chocolats. he is sure that he wants to music, more hands. Shots of Peter moves to die. Peter is ‘quite sure like dark tones. Peter dying and a couch and that that is want he wants Terry reacting Christine sits to do”. Peter thanks on it. Focus on next to everybody. Peter startes Terry. After him.They give mumbling and couching. Peter dies, we each other a He then snores and see a close up- kiss. Peter eventually stops when he of the hands drinks the died. Christine asks if Terry again and poison. Peter is allright. After this we Peter. Terry is and Terry hear the bit mumbly very affected shakes hands. conversation of Christine and emotional, Peter drinks the and some staff. he cries. poison and dies. After Peter dies, Christine starts crying.

!80 of !114 Segme Time Code Content Diegetic Non-Diegetic Notable nt Sound Sound

31 55:04 Terry sits on a Very deep sigh of Terry. “It The tones stop. Very personal bed. He then is hard to believe that I When Terry of Terry, you talks with the have seen the death” He cries, the get a very members of tells how Christine now has sounds start emotional Dignitas. He to organizing some things. again. bond with him gets hugged by He tells to the staff: “can I as a viewer. It one of the say how extremely makes him very members. impressed I was by how it likable. was done. That was wonderful.” Terry then starts to really cry.

32 55:58 Terry is outside “This has been a happy Electronic Close up of the house, in event. We have seen a music. This Terry, frontal. the snow. After man die peacefully, more starves away. this, a lot of or less in the arms of his After the first shots of the wife, quite quietly. So that monologue, nature around we never were actually more happy the house. certain exactly when he music starts. passed away. And when one thinks of all the other ways a person can die, and in what circumstances, that would count as a result.”

33 57:20 Terry in the “I was in the presence of Piano music First normal dark room. First the bravest man I ever starts after the close-ups, then in close up, met. I am not certain I first extreme close then standing could do that. I am not monologue. It ups. and then close- certain that my hand would becomes up again. Terry not shake. But then, I am louder. Clear eventually not certain what I would arguments -he walks away and really do if I were really is supporting we see the there”. assisted dying picture of Peter and he would and Andrew “I want to stay around as consider it and their birth long as I can to see doing it in and death assisted dying done Switzerland dates. Then the properly in the UK.” himself. titles appear. “If I die, When I die, I Personal would like to die outside in ending. the sunshine. Hmm.. I supposed there is sunshine sometimes in Switzerland.”

!81 of !114 Appendix two: Segment analysis Dignitas, La Mort sur Ordonnance.

Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

1 00:00 We see a house After the voice over: Voice over: “Will it They are from the outside “And the chocolate?” taste bitter?” “It’s laughing and with the titles with: “Here, it’s ready”. ready”. joking with pfäffikon - Zurich. each other a Then we see a Conversation between bit. woman in a bed the woman with the drink inside the house and the woman in bed. and a woman The woman with the drink beside her bed asks if the woman in bed with a drink. The is Michèle Causse and if woman in bed a she wants to die today. bid jokingly says They say goodbye to the woman should each other and kiss each ask if she wants to other on the cheek. die.

2 00:54 We see a duvet in Choir music. Very low Directly extreme close-up. pitch. information We also see about the extreme close ups Voice over narrator: situation. of trees trough a “French citizen window. We also Michèle Causse chose see some shots of to die in Switzerland the room Michèle by drinking 15 gram was in earlier. at of diluted 01:18 the Obituary pentobarbital. of Michele in the Switzerland is the only newspaper country in the world appears on screen. that facilitates Then the titles assisted suicide for Dignitas, Death on foreigners and the Prescription only one that allows appear on a black groups such as Exit screen with big and Dignitas to black letters. After organize prescription that, a title with: A death. Michèle didn’t report by have a life threatening Emmanuelle disease, nor did she Bressan-Blondeau do anything illegal. and Jean-Bernard She chose to die on Menoud. her bithday, july 29th.”

!82 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

3 01:35 A door opens and “Suicide” Act of endings Voice-over: “I am we see a man who one’s life, destroying or Ludwig A. Minelli. I says the crew can harming oneself.. was born in 1932. I come in. He walks was a journalist an through his house. have been a lawyer After his voice for 24 years. I work in over he reads from human right and have a dictionary. run Dignitas for 12 years.

4 02:19 Interview between Interviewer: “In the past Information filmmaker and 12 years you have helpen Ludwig. We only over 100 people die. Who see Ludwig. are these people?

Ludwig: People with grave illness who are in terminal stage and have decided to end their lives to avoid suffering and complication in their last days. But also the elderly with multiple health problems who want to end their lives, saying: “I have lived a good life but would like to end it now.”

!83 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

5 03:21 Ludwig walks Voice over narrator: through the house Although he looks like and makes tea. a sweet old man After this we see worried about the shots of a law quality of water for his book and the tea, Ludwig Manelli is house of Dignitas. actually a formidable lawyer. The 78 year old head of Dignitas skillfully serves the grey zones of the law with to assist those who wish to die. Swiss law is extemly ambigious. Swiss Penal code article 115 authorizes assisted suicide if it is not requested for egocentric reasons… Nothing more. Dignitas favicon headquarters exist thanks to, or because of, this law. Dignitas clients are mostly foreign; German, English, French. Because in France, as in most countries, it is against the law to commit suicide with barbiturates such as Pentobarbital.

Soft music on the background, very neutral. Guitar.

!84 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

6 04:14 Car drives through No music. a street near Paris. A woman gets out. Narrator voice-over: The woman and tells about the woman the husband watch and her husband who old footage of never came over the their son. We see lost of her son, who how the son tells died under extremely how he wants dramatic euthanasia. circumstances. Their 24 year old son Remy had a generative disease which destroyed his nerve and muscular system since he was 6. In 2007 a programma was broadcasted in France about the son. When they interviewed the family, Remy told them he wanted to die.

!85 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

7 05:33 Interview between Interviewer: What did Close up. filmmaker and the you say when he said: Mother father of Remy, “I can’t live like this?” almost has to Jean-Pierre Salvat cry. and the mother. Jean-Pierre: That we Régime Salvat. We understood but that only see the there was still hope. parents, and some We had to help him old footage of carry on. But we Remy. understood. It was a legitimate desire.

Interviewer: Did you hope things would improve or for an eventual remission?

Régine: No, but that’s what we said. We knew he had a mortal illness, that he would bedridden, loose his motivity, suffer neurological deterioration. He insisted on euthanasia. When he learned it was against the French law, he said: Then I count on you, mom. But I said: A mother gives life, she is not here to kill her child. You’re asking me something awful. The law must change. I couldn’t do it. He wrote the president shortly before he died. We thought the president would say: We’re working on it, perhaps the law can be adapted.

!86 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

8 07:29 Letter from the Nature sounds. Voice over narrator: president. After the presidents answer that we see Regine came three months walking with her before Remy’s death. dog. “On philosophical grounds, I feel we do not have the right to end life.” Nicholas Sarkozy answer triggered events. Remy saw only one solution, receiving this official response. One summer evening in 2008 he prepared a cocktail of drugs and alcohol and committed suicide alone in his room.

!87 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

9 08:00 Interview between Filmmaker: You found him close ups and filmmaker and one morning. medium Regine and Jean- shots on Pierre. Jean-Pierre: Yes, i found couch. Mom him. almost cries.

Filmmaker: Can you talk about it?

Jean-Pierre: It’s rather difficult. Finding your son.

Regine: It’s hard for him. He found Remy that morning. What can I say? People say we’re free to take our own lives, and we are, but I want to tell them that it is horrible. Remy did not die peacefully. My husband kept me from approaching the body. i ran after the ambulance and images of my child still haunt me. He did not die peacefully in bed. He drowned on the floor in his vomit. Remy didn’t die in peace. Knowing that’s how he had to die is horrid.

Filmmaker: Why didn’t Remy go to Switzerland where he could die peacefully?

Regine: It’s hard to explain. It has to do with his character. It has to do with him being an activist. He wanted everyone to have the right. I learned after his death that many people with degenerative illness take their own lives but no one talks about it.

!88 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

10 09:54 Shopping Street. Narrator voice-over: Then Michele But Remy’s sacrifice reading and was in vain. French writing in a chair. law remains unchanged. Michele Causse on the other hand, waiged another kind ofbattle in Toulouse. She allowed a television crew to film her story in the hope that it would wake people up. We met Michele ten days before her death. But the thought of discussing it with her, was disturbing.

11 10:18 Michele in the 10:32 the sound turns Michele: I joined chair. And letters diegetic. I lost a kidney. Dignitas in 2002 and to dignitas. I’m asthmatic. I have been have done everything almost bedridden since I necessary to die with was 55. My illness is dignity. My body is invisible. It’s not fragile. I have spectacular. X-rays show compressed vertebrae that my bones have and osteoporosis paled. My brain still which has worsened. works. It’s hard to walk and I get very tired. I am a burden to others. I can’t prepare my own food or shop. I can’t do what most people do and that alone…

!89 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

12 11:14 Michele. After voice over, Michele Filmmaker: “It was again: I love life but I difficult to understand don’t want it to loose this vital 74 year old shape. I’ve so loved woman. Because we giving form to life that the felt she was still very idea that I can no longer attached to life. give it the form I did when I wrote. I’m loosing my words, my memory. The computer tires my eyes. I can no longer shape my own life!

13 11:54 Titles Toulouse. Filmmaker: Michele We see a Causse was fully playground. determined nothing Michele walks with would change her Martine and Nicky. mind. Neither the beauty of summer, neither her friends grieve. Martine, and Michelles partner Nicky, will accompany her to Switzerland, as they have promised to do.

14 12:16 Martine in front of Martine: Michele gives computer. me strength and is happy Alternating with her choice. Should I footage of her and be sad? No! If I am, I am Michele. not her friend. Friendship is respecting the other.

Filmmaker: Did your relationship change once the date was set?

Martine: Yes, but what has changed? Perhaps I am more attentive to her needs. We all are. After all, she is the one that is leaving. It is normal to be attentive.

!90 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

15 13:03 Michele, Martine Michele: How will we Voice over Michele: I and Nicky on a make the train to Zurich if live with someone bench outside. we arrive so late? whose silence allows me to write and to They talk about the think. We have similar journey. tastes. (It turns non diegetic at 13:38). I Playground sounds. don’t want those who ————— love me to suffer. I feel guilty knowing Michele to filmmaker Do they weep. It is very you think I’m brave? hard. If I kill myself tomorrow, which I will Filmmaker: Yes do - Dignitas is only helping - I will do it Michele: Why is it because life has lost difficult? It’s easy to die. its meaning. I want It’s life that is difficult! I nothing else. I just was courageous to live. I want to go to was courageous for years. Switzerland. I was always courageous. Now I will simply drink a potion. It’s that easy! It will be bitter but then I get chocolat.

!91 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

16 14:51 Ludwig walking in Alternating voice-over Soft music. a garden. and diegetic conversations. Filmmaker: “Ludwig Manelli always walks Filmmaker: Dignitas isn’t to work. His office is on the door. 500 meters from his home, near Zurich. He Ludwig: We’re discrete. works with a staff of about 12 people. He shows us around through the office. Dignitas helped 1044 ————— people to commit suicide over the past Filmmaker: 12 years. What are the conditions ————— for applying for suicide? Music, dark tones Filmmaker: the Ludwig: People make a patient must travel to request by phone, email Switzerland and or letter. They must be a consult with a doctor member and send in their in order to get the medical file and CV so we green light. understand their case. If Consultations usually their case seems valid we occur in a hotel. Two consult a doctor and ask: twenty minute are you willing to write meetings to receive the prescription. If so, we or be refused the inform the person. right to die. ————— Filmmaker; Does one have to have a serious illness?

Ludwig: No, but they must be ill.

Filmmaker: not just a cold

Ludwig: No, but an elderly person with many illnesses that make life very difficult.

!92 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

17 18:07 Two people After voice over. Reiner Voice over from a Close up walking in the and son tell about Silke man: “My wife just Felix and snow. Reiner and and her illness. The son of slept. She left in Reiner and son on couch. Silke, Felix, show the peace. medium camper they traveled shots. with. He tells how his Voice over filmmaker: mother laid in the camper Cemetery in and how he held the pan Germany. Silke when she vomited. The Bredenouw died in traveling made her pain 2006. Her son and worse. Her son wanted to husband felt relieved. be there with her. Witnessing his wife intolerable suffering, Reiner tells she was really Reiner did not happy Felix was there. He hessitate an intent to also tells about the travel. driving her to Dignitas It was a horrible journey. in Switzerland. They had to stop to throw ————— out all the vomit. They Filmmaker: The word arrived in Zurich in the euthanasia has been evening, and they had to taboo in Germany spent the night in a since the nazi’s. Only parking lot. In the 40% of today’s morning they saw the population favors doctor and picked up the assist assisted suicide. description. Then they Legalization is went to the house where therefore the suicide took place. unimaginable. But the His mother was on the Brenenouw family bed, they connected an found relief in IV with a button so she Switzerland. They could choose when to drove to Switzerland start the flow of the under intolerable sedative that would kill conditions. her. They quickly said good-bye and then she pushed the button.

Felix didn’t felt anything when they left the building. Reiner has no memory of the travel back.

!93 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

18 24:06 Reinier in a house Conversation between with his son, they filmmaker and Felix and view an old photo Reinier. album. They show a picture of Silke. Filmmaker: Would you fight to legalize Dignitas in Germany?

Reinier: It wouldn’t work.

Filmmaker: Why?

Renier: We have another approach to things. Perhaps due to our past or the powerful lobbies. But i don’t think it will be allowed soon in Germany.

19 25:31 Eveline in a room Eveline Widmer- Filmmaker: Back in talks. Schlumpf, minister of Switzerland surveys Justice talks: Many reveal that the foreigners come here for majority of people assisted suicide, yet some favor assisted suicide. are not ill. They want to She tells about the be helped but it’s like laws and the “Death tourism” and that resistance in 2010 is not a proper image for from the federal Switzerland.” council. They proposed a law to regulate assisted suicide at dignitas.

20 26:33 Bertrand Kieffer, Bertrand: The proposed national law only deals with commission on assisted-suicide groups. It ethics, talks is legal to assist someone if their motive is not egoistic. Everyone has the right to help. The new law extends that right with a certain level of control.

!94 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

21 27:02 Image of a Filmmaker: however buidling, justice the initiative was short ministry? lived. The bill was set aside when Eveline Widmer-Schlumpf left the department to become minister of finance.

22 27:15 Streets in Dominique tells he just Filmmaker: we A title with Bruxelles. After the received a request for traveled to Belgium. the voice-over we see euthanasia for someone Where, along with the explanation the doctor she who made advance Netherlands and of advance talked about, declarations and now is Luxemburg, assisted declarations Dominique unconscious and he will suicide and appears on Lossignol. be. He explains how the euthanasia are legal. screen. proces now will take She tells about a place. doctor who practices euthanasia.

23 29:14 Street in Belgium. The conditions of Filmmaker: since the Close ups After that we see euthanasia in Belgium are law began in 2002 and medium Marc Englert of being explained. The euthanasia have been shot. the Control filmmaker and he talk used 900 times a year, Commission. about euthanasia in for a population of Belgium. The most 11.000.000 people. requests are from cancer There is a commission patients. in Belgium to make sure doctors obey the law.

24 30:38 First shorts of a Doctor tells about the Filmmaker: While the doctor giving an relation with the patients. commission is injection to a The patients ask them to overseeing patient. After the stay with them etc. The procedures, the voice over a doctor feels alright at patient is obliged to doctor tells about home, but when days remain in consultation their task at the where he helps someone with the doctor, for at euthanasia in a day, are not normal days. least 6 months. A hospital. But he knows that he is relation based on helping and that gives trust is constructed him strength. between the patient and the doctor.

!95 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

25 32:41 We are back to He tells he worked hard Marc Englert. for the law on euthanasia. It is a pretty idea that someone dies a natural death, but it is not nice to see. People should be able to end their lives if they choose. He is surprised Belgium created this law because they are not usually innovators in important matters. He is happy with it.

26 33:31 Marc working in After the voice over Filmmaker: although the garden. Then Ludwig tells why he thinks Belgium allows we see Ludwig in he also should help foreigners access to his house. foreigners. Everyone assisted suicide, the should have the right to long period of assisted suicide. Even a medical consultation teenage who is left by his discourages some. girlfriend. But Ludwig Swiss law offers an would first tell him there easier approach that are other nice girls gives everyone the around. right to die. This is what Ludwig Minelli wants and it is what he is fighting for.

!96 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

27 34:44 Articles from a After the voice over Filmmaker: He is an At 35:28 for newspaper in ludwig tells: I wanted agitator. This is his the first time French about Dignitas to try helium. We way of making people a more Ludwig. know that it can work. We think. Numerous distance shot have done it 4 times. octors were in which we After this the voice over suspended in 2008 for see the starts again. offering to many filmmaker/ prescriptions. Ludwig interviewer did not use from the Pentobarbital back. anymore after then, but he turned to helium, bought on the open market. ————— Death by helium is not easy. It causes spasms and the eyes role back. Such methods shocked the country.

28 35:45 Bertrand Kieffer, Dignitas’ use of helium, national was too much for most commission on people, they were ethics, talks outraged. It was dangerous ground. It was almost barbaric. Even if the motivation is humane and the intention is worthy - and I think it is. It must have a legal framework. The State must protect the weak.

!97 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

29 36:20 Shots of After the voice over she Filmmaker: regulations of talks about the costs with Switzerlands needs a Dignitas. Ludwig. The high costs law to avoid abuse are also for the cremation, and ensure financial transport, salaries, legal transparency. Assisted costs etc. suicide costs 10.000 ————— dollars. Filmmaker: people say ————— you profit off those who Voice over after wish to die. Ludwig: However, money Ludwig: It’s not true flowing into dignitas makes the headlines. Filmmaker: can you prove Ludwig has been it? criticized because his personal fortune has Ludwig: The accusers increased. must prove it. I don’t have to prove my innocence, although I can. None of my money comes from Dignitas.

30 37:48 Andreas Brunner, Andreas after voice over: Filmmaker: Zurichs Public Prosecutor We need more proof to alterny general Zurich create reasonable doubt Andreas Brunner has and file suit. kept a close eye on Dignitas’ activities for years. He remained prudent, even evasive during our interview and has never produced evidence.

31 38:15 The blue house The hostess shows us Filmmaker in voice where Michele will around the house and over introduces that die. The hostess tells about it. She tells the blue house has introduces us to about a few cases in been prepared for the house. which the patients were Michele. The hostess, determined but still who works there for waited a minute before 17 years, is drinking the poison. introduced. Others talk for hours to her.

!98 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

32 39:58 The hotel of Michele: It’s beatiful. I Filmmaker: Michele Close up of Michele and have no worries. I am no has been staying in a Michele. Michele telling on longer worried about hotel ten kilometers bed. Also Michele anything. I get dizzy. I’ve away for the past on a boat on lake got the same problems three days. We fell Zurich. but I’m not worried. I’ve nervous for meeting always worried and there her this second time are my health problems. I the day before her am taken care of here, death. But strangely even my death is taken enough, the sphere is care of. I hope everyone not heavy at all. can live such an Michele is serene, experience. Why do we almost joyful. say life is sacred? Let people do what they want. Let me say before dying that people cherish life. There won’t be crowds begging to die. Hordes of woman didn’t abort just because it was legal. People love life and want to live it to the last drop. I have to really be suffering to leave it. I wanted to live just like everyone. We all cherish life. Why worry? There won’t be crowds of people lining up to die. The few who wish to die will certainly have good reasons.

!99 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

33 41:37 Extreme close ups Doctor tells: people don’t Filmmaker: whatever of hands. About understand why she her motives may be, the doctors that wants to die or why I Michele must wait for help assisted authorize it, why I say yes. a dignitas doctor to suicide. give the final go. - So why? There are only two left in the entire No one can judge her country. Micheles’ suffering or quality of life. doctor is a wife and Only she knows. And she mother. She preferred feels that her life is over. not to be seen on camera in order to protect her children. Writing the description is a heavy responsibility.

Soft piano music.

34 42:38 The host is walking Albert: Pharmacists don’t Filmmaker introduces outside in the rain. like police surveillance. it’s the day of the It is the day of the suicide of Michele. assisted suicide of - How many bottles do There is one Michele. The host you sell to Dignitas? pharmacy in Zurich goes to buy the that wants to work Pentobarbital. The 2 or 3 per week. with Dignitas. pharmacist Albert Ganze talks. - Is it expensive?

No, 15 grams cost 32.40 francs.

The filmmaker talks with the host about the Pentobarbital.

35 44:27 The blue house Erika and Michele chat a and the host Erika little. waiting for Michele. Erika bought flowers for Michele because it’s her birthday. It is raining very hard.

!100 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

36 45:35 Michele in bed Michele: I’m sorry but i The first time with her partner don’t have any parting we see next to the bed. words. Foucault said Michele cry. Operamusic is put there are no more words, When she on. Michele listens alas! cries, the very carefully. camera Partner: Before dying he zooms in on said: there is nothing to her face. say.

Michele: that’s how I feel.

When the music starts, Michele states how important music is to her. I’d die for this alone. Music makes me cry, not death. Nothing is greater than music. Music brings life. She thanks Martine.

!101 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

37 47:00 We see the Michele: take care of her. No more music when Same scene partner in the Michele and Martine Erika prepares the only longer. garden with a staff thank each other. Erika drink. When Michele Not member of asks the questions and drinks, we hear soft emotional Dignitas. She is they say their goodbyes. opera music again. sad. Michele talks with Martine. Michele: it is my last wish. Martine has to cry. Then Erika sits Erika: Drink it in 1 or 2 next to the bed gulps. with the first drink. Then we see Erika Michele: only? preparing a drink in the kitchen. Erika: It’s bitter Erika sits next to the bed (the same Michele: but 2 gulps isn't shots as the enough opening scene of the documentary) Erika: Yes it is Now we see Michele drinking Michele: I’ll drink it all the poison. After ————— that, she eats a After the drink: piece of chocolat. Michele: it is bitter. It’s awful. IT;s like being a dog at the vet’s. It’s disgusting, but there are worse things.

Erika: A cleenex please

Michele: do you think i'll cry or drool?

Erika: the chocolate can dirty the blouse.

Michele: you are right. If I drool, please turn that off (pointing to the camera). Some people say goodbye from a distance, most likely staff members. Michele answers bye telling goodbye.

!102 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

37 Idem Nikie comes sit on Erika: promise When Michele starts Zoom in on the bed. She cries. feeling sleepy, the the faces of Michele: I have my opera music starts Erika and dignity. More chocolate. again. Michele. This tastes horrible

Michele: when do i sleep?

Erika: In a minute

Michele: already? Nikie, my last thoughts are for you. (Niki comes to her) Don't cry. Nikie, I’m just going to sleep. You know how I love it. Seresta… sleeping pills..

Nikie: I’m going to join.

Michele: no.

Nikie: One never nows

Michele: right. If i drool… If I look like a… like what? It tastes awful.

Nikie: but you drank it all.

Michele: it's ok. More chocolate, please. I’m sleepy.

Erika: just a bit

Michele: I'm falling asleep. Give me your hand, Nikie. I feel dizzy.

Erika: Breathe deep… deep…

Michele: i'm falling asleep. It feels good. I’ve felt so dizzy lately.

Erika: sleep well. Close your eyes. Let yourself go with the clouds. !103 of !114 Seg Time Content Diegetic Sound Non-Diegetic Sound Notable ment Code

38 52:32 An empty room Very soft mumbling on Shot from with Michele the background. across the laying in bed. room. Not Subtitles clearly seeable.

!104 of !114 Appendix three: Segment analysis Nachtvlinder, de laatste dagen van

Priscilla

Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

1 00:00 Woman looking The woman talking with other Soft/slow piano Titles from out the window family members about the music productio seeing a funeral. She says: yes, it is heavy. n hearse. She is company preparing for a and funeral director small in screen

2 01:27 Title Piano music Nachtvlinder, de laatste dagen van Priscilla ons screen with in the background a ribbon around the antenna of a car. Woman leading the cortege.

3 01:41 We see a Priscilla tells about her funeral Voice over: I’m Title with funeral card card and how she decided how it going on a Priscilla with the text of should look. She picked a journey. To leave Brouwer. the voice over butterfly on the funeral card behind the ones on it. Priscilla because a lot of people call her I love, and to tells about her butterfly. The butterfly has a retrieve the ones funeral card. symbolic function for her - it I loved. Soft stands for freedom. And she will piano music now finally be free from suffering continuous. and her disease. She is going on a new adventure.

!105 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

4 02:30 Cortege is Horns of the cars. The woman The driving and from the beginning explains they woman horning. horn because Priscilla wanted has Woman tells that. She says: I really loved her. obviously about the “But you know, I knew it a hard wishes of wouldn’t last long. But such a time, she Priscilla for her short time.. I counted on 30 cries in the funeral cortege years, she also did so herself, car. and how she then 25 is to short” really loved Priscilla.

5 03:46 Tombstone Wind and sounds from the with the text: graveyard. The girls talk Priscilla. Priscilla They place a picture of her and Brouwer say. “Here she was completely 14-09-1985 - healthy. This was, I guess, two 14-09- 2011 years before she committed and close ups euthanasia.” from her grave. ‘1,5 year later’ titles on screen. Two girls visit the grave

6 05:30 Old Footage of Quicker, more Priscilla walking happy music. on the beach. Voice over: the Where she was two friends tell obviously about how they healthy. have lost a fun friend.

7 06:09 Back to the They tell about how Priscilla friends at the really wanted to see her mother graveyard. The again after she died. girls toast to Priscilla with an alcoholic beverage.

8 06:56 We see a Conversation between friend Piano music Titles: 1,5 hospice. and Priscilla: “where does it year Priscilla is hurt”, “Everywhere”. Priscilla before. laying in bed. A says she wants to sleep. Close ups nurse comes in of a very to help her. ill-looking Then two Priscilla. friends visits.

!106 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

9 08:26 Priscilla tells “My mother is very special to Close up about her life me. When I was three, it turned of and how she out my mother was very sick. She Priscilla’s decided to lost a lot of weight, she had a lot face. commit of pain. Eventually she could not euthanasia. We walk anymore. She was suffering see the face of from a disease that was quite Priscilla, unknown back than. The disease alternating with is heritable. And unfortunately, I shots of her in have the disease as well. The life the hospice. expectation is not high, my mum got 31. And I always expected the same for me. But I always sayd: I don’t want to suffer as much. The disease controls your life. And then I thought, “I want to end my life in my way, and I don’t want to suffer.” So I discussed euthanasia with my doctor. But my life was really busy back then, so I said “I will come back to this.” But I do not doubt it at all. Years ago I already said: “I will rather die at 26 so I can end my life being myself, than at 30 after a long agony.” And I am really glad it took a year to have my euthanasia. This is what I really want, my last wish. And it is not an easy choice, to choose your own death. But the good days do not compensate the bad days anymore. I suffer so much, it becomes unbearable. I think I am really ready. I am looking forward to it.

10 11:22 Marketplace. Priscilla: My second mom is We see the called aunt Marja. 20 years ago woman from she became my neighbor when the beginning, my mom was still alive. And she which turns out is just a great woman. Priscilla to be Marja. tells bout the bond between her and Marja and her daughter Christel.

!107 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

11 12:59 Marja and Marja: When priscilla was young, Titles: Christel on the you could see something was Aunt Mar. couch. wrong. I think Priscilla knew that Alternating herself. She never felt any pity with party for herself. pictures of Priscilla. Christel: when she got older, she got kind of wild. We lost control of her. She did not care about other people. She had a lot of boyfriends etc.

Marja: I think she was scared to bind herself. Priscilla was not sweet at all, she was a little devil. But she was sweet deep inside, when she was confused and came over to cry.

12 17:34 Footage of Marja: Priscilla did not have Party music. Priscilla boobs, so she did plastic surgery. partying. Marja And as soon as she got her fake tells about boobs, she got a big tattoo of a Priscilla. butterfly on it. And two years ago, the doctor came up to Priscilla and said: we can give you a pacemaker to support your heart. But when she found out the pacemaker would go through her butterfly tattoo, she said: no way. So that did not happen haha.

13 19:41 Priscilla telling The day I got the diagnosis I was in a garden. at work. I was called, and it Alternating turned out I had the same shots of the disease as my mother. My world hospice. collapsed at that moment. After half an hour I though: try to make your life the best you can. I choose not to pity myself, but I accepted it as my life. I had some bad times, but I always got up again to make sure I could reflect on my life feeling happy.

!108 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

14 21:22 Friend tells Friend: She is not the Priscilla Slightly about the she used to be. She always close up. decision of wanted to party, and now she is Priscilla in the locked in this room. She wants to hallway of the be remembered as the person hospice. she was, not as the ill person. So Alternating when se decided to do it, it was shots of Priscilla not a surprise. But it was really in bed. quick. But you can see she really done with her life. But now the day comes closer and closer, you have to think about it. You think about it all the time. It is hard, but when se heard the got approval for the euthanasia, we called her: congratulations. That is weird offcourse. You don’t want to lose your friend, but we are glad for her. Because this is her last wish.

15 22:46 Priscilla and Priscilla: It all becomes so close Background Observati friends sitting know. Friend: do you get noises onal with in the hospice. nervous? Priscilla: no, i just think: close-ups Talking about finally! It is surreal but something death. I live up to, a new adventure. It can never be worse than the life itself. I hope it is more beautiful than life on earth. Friend: I think you made the right decision to do it now, and not wait a few months. Priscilla: I’m also glad about that.

16 25:19 Friend in “It is just unbelievable. You lose Close up hallways your best friend.” It keeps me of her strong that this is what Priscilla face. She really wants. It is good like this, cries she does not deserve to suffer.

17 26:18 Priscilla telling Priscilla: I am not afraid to die. I Piano music in a garden will die in three days, on my about her end. birthday. I don’t want to live on, why should celebrate my birthday? Now I get my goodbyeparty and my birthday party on September 13th. I just want to end my life happy, in my way.

!109 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

18 27:30 Marja and Marja: She took care of Christel on the everything. The doctor couldn’t couch. tell her anything new. If her euthanasia would not have been approved in the Netherlands, she would have gone to Switzerland, because you can do euthanasia there. You might not understand her decision because she is so young. But if you had seen how hard her mother had to fight until the bitter end, then you maybe understand better why she choose to do this. I am glad that everything went exactly how she wanted. I am very grateful for the approval of the euthanasia.

19 28:46 Priscilla in the I wil not postpone the garden. euthanasia. One day I am really tired, but some days I can talk. I will not postpone it, I support in 100%. I know you can call off at the final moment, but I won’t. I am ready, I am going to be with my mom again and that keeps me strong. I missed her long enough. I know she waits for me. I am looking forward to that.

20 29:36 Marketplace. Background sounds. Marja and Christel: she really wanted Christel behind children. All her friends had their stall. And children or were pregnant. That at their couch. was one of the reasons why she did not see a future for herself. She had a 50% change of getting a healthy child. But even if the child would be healthy, it would loose its mother at a very young age. And that is what caused Priscilla a very hard time when she lost het mom at such a young age. She was very sad about that.

!110 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

21 30:59 Priscilla in bed, Priscilla: I knew I would not have Piano music in the hospice. children or a long relationship. Pictures of Because of that, I discovered the priscilla nightlife. That was my partying. She replacement. I will go to the tells about her beach with my best friend later partying and on. He means a lot to me. her ex- boyfriend.

22 32:17 Patrick, Patrick: I was 17, she was 18 When they go priscilla’s ex- when it began.We did some to the beach boyfriend tells crazy stuff. We almost lived there is jazz about their together. It was perfect. I didn’t music - piano relation. And see her disease as an obstacle and saxophone. he meets her at for our relation. the hospice. They go to the Patrick and Priscilla talk at the beach. hospice.

23 34:29 Patrick and Patrick: at one time she got Jazz music Priscilla at the pregnant. Then it hit me that I continious beach. would have to raise it alone. I Alternating couldn’t do it. We decided to Sounds of the monologues of get an abortion. That made me beach - birds, Patrick. realize there was no future. That wind, water caused us to break up eventually. It was very hard.

24 36:10 Priscilla in the “I was very sad back then, when hospice bed we broke up. I never cried that much, not even now at the end of my life and I will get my euthanasia tomorrow. I almost do not cry now. I was so sad about that. But we always kept in touch. That was hard, but we are still there for each other.

!111 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

25 36:50 The two friends “When it turned out she could Violin music tell in a bar decide her own date for the about the euthanasia, she decided to do it euthanasia. on her own birthday. Then we organized a party for her.”

They organized the party so everybody had the opportunity to say their goodbyes.

“She directed her whole life, it really was a fairytale”.

26 38:00 Priscilla getting Priscilla talks about her hair with ready with her Steffie. Priscilla: “how do you sister Steffie for feel about there being a party?” her birthday. Steffie: “I respect that you still do that. It is very special. Let’s try to have a nice evening. But I might have to cry.”

27 39:08 Priscilla in the "it is a party. Because it is my Close up hospice bed birthday and the day of my euthanasia. I really lived up to this moment. Maybe it will frighten me tomorrow, but not up till know. I can close everything the way I want it. I could not think of a better birthday gift.

28 39:39 Steffie and Priscilla: “let’s go for it. I have a soft, more Priscilla go to lot of pain but we will have a happy music. the party. They nice party.” sit in the car.

29 40:40 Priscilla at the Party music and inaudible We see party. She talks talking. some with a lot of shots of friends Marja standing in a corner. She doesn't participate in the party.

!112 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

30 42:07 Marja in the “I am mad, I am sad. But that Close up garden. she doesn't have to suffer for op her that last year, I am very happy face, she with it. I said to the doctor: If you cries. don’t do it, I would help her. If it was not approved, I would have done it.”

31 42:57 Back to the Priscilla: Thanks for everything. Close ups party. Marja of people and Priscilla crying. cuddle. Patrick raps a song for her.

32 45:34 Priscilla in the "I am so tired, have so much Party music Extreme hospice bed pain. Everything is over now. The shortly close-up moment is almost there. continious of her Everything went as I want. This is face. my way of saying goodbye and to find my rest today. It couldn't be anymore beautiful”

33 46:58 Hallway of the Sounds from the room: “Are you First soft piano Close up hospice. The sure”, “Yes”. “You don’t have to music, then of Marja door of the go on with it” “But I want to”. “I silence. and room of Priscilla love you” “I love you to”. Priscilla is open. Then cuddling we see Marja and next to the bed crying. of Priscilla. Everybody Patrick also cries. comes in and some other friends and family.

34 48:28 The doctors Priscilla tells she is calm, but the Dark piano come in, they others aren't. She is ready for it. music starts greet eveyone. when they They prepare prepare the the euthanasia. medicin and Priscilla kisses Priscilla kisses everybody everybody goodbye. Then goodbye. the camera moves to the hallway, the euthanasia is not recorded.

!113 of !114 Segme Time Content Diegetic Sound Non diegetic Notable/ nt Code sound Style

35 50:34 Priscilla’s body People kiss her goodbye and say Softer piano is laying on the their goodbyes. music. bed surrounded by flowers. Her family and friends are next to the bed.

36 51:06 The flowers on Party music starts. The music is priscilla’s grave sometimes and a balloon diegetic, and of a butterfly. sometimes We see the nondiegetic. funeral. They play party music and people dance on their chairs. Then the coffin get carried away.

37 52:17 The two friends “Bye sweety. She has the most Soft piano music at the grave of beautiful grave. It would have starts. priscilla again, been better if she could be 1,5 years later. here.”

38 53:01 Marja tells She picked her own grave. And about the then I look at her gravestone, grave. which is a heart. If i could have picked it, It would have been a witch with a broom hahaha. But you can’t do that. In the last 2 years, she was the night fly. That was priscilla.”

39 53:40 Shots of the Party sounds Piano music End titles party of priscilla again.

!114 of !114