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The End Has No End: Framing Death and the Phenomenology of Dying in Documentary Cinema
Stockholm University, Faculty of Humanities, Department of Cinema Studies.
2015 (English)Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
Abstract [en]

In a world denying and deconstructing mortality, the intersection between the phenomenology of image and death and the phenomenology of time consciousness seems to call for new attention in contemporary media culture. The recurrent motif of death in fictive film narratives is opposed to its far more complex and controversial counterpart in documentary cinema. In documentary, the framing of death and dying is immediately ethically charged and the image of death tends to be socially defined as obscene. At the same time, indexical moving-images of death have throughout film history achieved significance as spectacular screen attractions, where the immanent voyeurism of the film experience is linked to an intricate fascination for the real.

Through dying as a documentary screen event, our perceptual modalities and self- awareness towards the inexorable end are at stake. Turning to the film Near Death (Frederick Wiseman, 1989) as a conceptual example, the present thesis will attempt to theorize the cinematic perception and invoked affects of dying as an immediate and visceral reminder of our limited time. 

Place, publisher, year, edition, pages
2015.
Keyword [en]
Near Death; Documentary cinema; Phenomenology of image and death; film analysis; film theory; aesthetic experience; time consciousness
National Category
Studies on Film
Identifiers
URN: urn:nbn:se:su:diva-119040OAI: oai:DiVA.org:su-119040DiVA: diva2:843086
Supervisors
Available from: 2015-08-11 Created: 2015-07-26 Last updated: 2015-08-11Bibliographically approved

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CiteExportLink to record
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Citation style
  • apa
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  • de-DE
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  • en-US
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Output format
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