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001			183770
003			IT-RoAPU
005			20221214232053.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			220302t20142014nyu fo d z eng d
010			_a2014001350
019			_a(OCoLC)967256959
020			_a9780231163477 _qprint
020			_a9780231538039 _qPDF
024	7		_a10.7312/comb16346 _2doi
035			_a(DE-B1597)9780231538039
035			_a(DE-B1597)458289
035			_a(OCoLC)920804456
040			_aDE-B1597 _beng _cDE-B1597 _erda
050	0	0	_aPN1995.9.D37 _bC66 2014
050		4	_aPN1995.9D37 _bC66 2014eb
072		7	_aPER004030 _2bisacsh
082	0	4	_a791.43/6548 _223
084			_aonline - DeGruyter
100	1		_aCombs, C. Scott _eautore
245	1	0	_aDeathwatch : _bAmerican Film, Technology, and the End of Life / _cC. Scott Combs.
264		1	_aNew York, NY : _bColumbia University Press, _c[2014]
264		4	_c©2014
300			_a1 online resource (288 p.) : _b‹B›B&W Illus.: ‹/B›23.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aFilm and Culture Series
505	0	0	_tFrontmatter -- _tContents -- _tAcknowledgments -- _tIntroduction -- _t1. Mortal Recoil -- _t2. Posthumous Motion -- _t3. Echo and Hum -- _t4. Seconds -- _t5. Terminal Screens -- _tCoda -- _tNotes -- _tBibliography -- _tIndex -- _tBackmatter
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aThe first book to unpack American cinema's long history of representing death, this work considers movie sequences in which the process of dying becomes an exercise in legibility and exploration for the camera. Reading attractions-based cinema, narrative films, early sound cinema, and films using voiceover or images of medical technology, C. Scott Combs connects the slow or static process of dying to formal film innovation throughout the twentieth century. He looks at Thomas Edison's Electrocuting an Elephant (1903), D. W. Griffith's The Country Doctor (1909), John Ford's How Green Was My Valley (1941), Billy Wilder's Sunset Boulevard (1950), Stanley Kubrick's 2001: A Space Odyssey (1968), and Clint Eastwood's Million Dollar Baby (2004), among other films, to argue against the notion that film cannot capture the end of life because it cannot stop moving forward. Instead, he shows how the end of dying occurs more than once and in more than one place, understanding death in cinema as constantly in flux, wedged between technological precision and embodied perception.
530			_aIssued also in print.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650		0	_aDeath in motion pictures.
650		0	_aMortality in motion pictures.
650		0	_aMotion pictures _xÉtats-Unis _xHistoire et critique.
650		0	_aMotion pictures _xÉtats-Unis.
650		0	_aMotion pictures _zUnited States _xHistory and criticism.
650		0	_aMotion pictures _zUnited States.
650		7	_aPERFORMING ARTS / Film & Video / History & Criticism. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7312/comb16346
856	4	0	_uhttps://www.degruyter.com/isbn/9780231538039
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780231538039/original
942			_cEB
999			_c183770 _d183770