Death and the Moving Image: Ideology, Iconography and I

电影从一开始就为当代社会对死亡的描述和处理提供了一个越来越占主导地位的论坛。它提供了我们对疾病或悲伤、受伤的身体或鬼魂、死亡的主要表征，这些都是由危险、悲惨的不幸或令人不快的罪行造成的。它提供了最生动的描述什么是可怕的在死前，在来世的魅力，和惩罚在这两个/的道德死亡。拟议的书，死亡和'移动'图像：意识形态，图像学，我，提供了死亡在西方电影中，并通过它，在西方文化中执行的各种角色的第一个研究。这本书的“之前，期间，之后”的结构主张死亡的功能作为叙事承诺，物理事件和复仇反应的关键三角。换句话说，西方电影中的死亡远不止是一个简单的行为。相反，它必须被视为与功能相关的复杂问题（指文本），实体（身体）和同理心超越欧内斯特·贝克尔关于否认死亡的流行论点，这本书对死亡的电影，政治和主观意义的讨论，调查了如何，更重要的是，为什么移动的图像会使死亡和哀悼越来越多地转移到文化中。与此同时，这种位移是特殊的媒体/周围的电影奇观，性和观众/，特别是其情感意图的否认策略。事实上，如何“移动”的图像周围的死亡是来提供一个及时的范式，询问当代西方文化的调解人类的痛苦，特别是其社会政治影响。

Cinema has, since its inception, provided an ever more dominating forum for contemporary society's depiction of, and dealings with, death. It supplies our main representations of illness or of grief, of wounded bodies or ghosts, of death by stupefying risk, tragic misadventure or unpalatable crime. It offers the most vivid imaginings of what is feared in pre-death, glamourised in the afterlife, and punishable in both/of a morality to mortality. The proposed book, Death and the 'Moving' Image: Ideology, Iconography, and I, provides the first study of the various roles that death performs in western cinema and, through it, in western culture. The book's 'before, during, after' structure argues for the crucial triangulation of death's function as narrative promise, physical event, and spectatorial reaction. In other words, death in western cinema is far more than a simple act. It must, instead, be seen as a complex of issues associated with functionality (of the text), corporeality (of the body) and empathy (of the spectator).Moving far beyond Ernest Becker's popular thesis on the denial of death, the book's discussion of death's cinematic, political and subjective significance, investigates how and, more importantly, why the moving image enacts the increasing displacement of death and mourning into culture. At the same time, this displacement is particularised by the medium/by the disavowing strategies surrounding film spectacle, sex and spectatorship/and, especially, by its emotive intent. Indeed, how 'moving' the images surrounding death are comes to provide a timely paradigm for interrogating contemporary western culture's mediation of human suffering and especially its socio-political implications.