Page is available only for desktop devices.
Try it on your computer :)
You can portray anything on the silver screen, except real human death. It debunks any fiction and ruins the „feeling of reality”. Pictures of death in cinema force us to measure the distance between the screen and our sofas, to acknowledge our status of a viewer, to define ourselves as just peeking and fantascising*. That is something no one can act out. Thanks to that fact, the viewer always keeps his distance from the story told. That is precisely why we can intake so much suffering, dead bodies, wars, extraterrestrials and cataclisms at once. We know that none of it is real. With the development of cinematography there are new ways of killing invented, new ways to show intergalactic wars etc. Death in those new concepts seems painless. The fear of portraying death in a more symbolic way is distinctive to the new culture. It is the expression of a common feeling - that death is nothing and n o t h i n g can not be imagined or portrayed**.
* Death in cinema Gerard Lenne
** Death of another man, Phipippe Aries
Director's cut is the director's version of the film. The project database contains more than 500 scenes of death cut from Hollywood movies, in such a way as to deprive the dying of the whole context, the whole background, all accompanying events. We do not know anything about heroes, their stories, about their relationships. All scenes depict a few seconds' act of transforming into a corpse.
In the second half of the twentieth century, it was noticed that our approach to death, seniors and sick people have changed. Natural death, death of a loved ones as a social event disappeared from our consciousness. It has ceased to be a part of life and has become its contradiction. Death very often, is accompanied by loneliness, both in the case of a dying person and its relatives. Mourning is treated more as a disorder than a natural, ordinary feeling.
At the same time, we are submitting to the ubiquitous process of commercialization, politicization and unreflective shocking by corpses in public space. Looking at the statistics of the most-watched films of the last dozen or so years, we notice that we are dealing with a cinema flood of corpses. We have been attacked with hundreds of images of death, both real ones coming from reportages, everyday news, and the fake ones that spill out of the cinema screens. Slowly, the boundary between one and the other becomes difficult to capture by a besotted viewer.
Somewhere on the borderline of fear of dying in the physical world, and life beyond the passing time in the new virtual ecosystem, appears a phenomenon that I call non-mortality. Ultra-modern, virtual images that we create and share daily in social media, do not get old. We also have full control over time, as we can edit events from the past at any given moment. Our history can be constantly improved and updated. Traveling in time on Facebook is something simple and obvious. From the moment of registration each day, at any moment we can (or maybe we are obliged to) build our alternative life, which sooner or later becomes our monument.
| Copyright © Urszula Kluz-Knopek email@example.com |