Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
2001: A Space Odyssey,
25,
181,
187–200,
204,
207,
253nn23–24–25,
255n39,
255n42,
256n55,
257n64
absorption: and theatricality,
49,
123All Quiet on the Western Front (1930),
139
Altman, Rick,
119,
123,
129,
138–39,
171,
241n40,
242n42,
243n60,
244n67,
244n80,
250n65American Mutoscope,
23,
35,
57American Society for the Prevention of Cruelty to Animals,
43–44And a Little Child Shall Lead Them,
76
Applause,
24,
118–25,
131,
134,
140,
240n21,
241n32,
241n36,
242n41,
242nn43–44,
242n47,
243n53
Auerbach, Jonathan,
29,
41,
44,
46–47,
51,
226n3,
229n45,
230n49,
230n57The Avenging Conscience,
76
Back from the Dead (Science Channel),
10
Balázs, Béla,
65,
67,
69,
73,
105,
114,
126,
133,
141,
232n2,
232n6,
239n3,
241n22,
241n30,
242n49,
243n54,
243n56,
244n68The Barbarian, Ingomar,
73
Barnum and Bailey,
43,
54Bazin, André,
14–18,
30,
59,
79,
84,
99,
127,
224n31,
224n33,
224n35,
238n65,
247n30,
250n63beheading: and
Execution of Mary, Queen of Scots,
30–35,
36; in painting,
38–39Beheading the Chinese Prisoner,
35
bioethics,
187; and President’s Committee of Bioethics,
9,
186Biograph Studios,
23,
35,
57,
66,
68–74,
76–80,
83,
101,
233n11,
234n25,
235n31,
240n16The Bride of Frankenstein,
135
Brooks, Peter,
81,
119,
128,
159–62,
167,
171,
235n35,
236n43,
241n39,
243n59,
246n21,
248n37,
248n40,
249nn43–44Butch Cassidy and the Sundance Kid,
93,
237n57
A Career of Crime no. 5: The Death Chair,
48,
57
Chion, Michel,
189–90,
192–94,
240n11,
240n13,
240n18,
241n27,
246n18,
253nn23–24–25,
254n27,
254n34,
255nn37–38,
255n40,
255n42,
255n44,
256n55The Country Doctor,
24,
65,
66,
71,
81,
86–87,
90–91,
94–95,
99,
101–102,
149,
218,
220,
237n53,
238n64
death: and cinematic technology,
15–18,
70,
105–106,
144,
215–18; and life,
5,
23,
105; and “on/off” switch,
42,
50,
104,
113,
123,
154,
180; and technology,
6–10,
25,
99,
183–86; and repetition,
14,
17,
59,
92; as lack of synchronization,
135; as photographic stillness,
13–14,
76,
84; history of confirming,
6–10,
75,
82,
214; multiple moments of,
10,
12–13,
18–20,
57,
72,
74–75,
101,
117,
152–77,
215; natural,
22,
184; violent,
22,
26; virtual,
203.
See also dying;
posthumous motion;
registrationThe Departure of a Great Old Man,
83
Doane, Mary Ann,
36,
49–51,
54,
58–59,
103,
105,
113,
115,
117,
125,
227n19,
230n53,
230n59,
231n65,
231n71,
239n5,
240n19,
247n27dying,
4,
22,
23,
26: and narrative editing,
69,
73; as cinematic form,
59,
84,
150; as flashback,
56,
159–63; as progression into silence,
133; body,
28,
187,
198–99,
207; process of,
39,
55–59,
66,
154,
177,
195,
209,
215; twice,
146,
165–77
Edison Company, the,
2,
23,
28,
30,
34–35,
45,
54,
57–58,
185,
251n9Edison, Thomas,
7,
28,
34,
35,
40,
42–44,
46,
52,
59,
62,
64,
105,
159,
217,
222n15,
228n35editing,
23,
37–38,
67: and Deleuze,
86,
92; and the curative cut,
66,
88; and the palliative cut,
66,
68–69,
100; as realization of death,
174–75; contrast,
68; narrative,
66,
72,
99,
101–102; parallel,
73,
75,
84–85,
88–110.
See also substitution spliceExecution by Hanging, An,
23,
35–36
Execution of Czolgosz with Panorama of Auburn Prison,
23,
46–48,
50,
52,
55,
73,
84,
91,
232n73,
236n47
flatline,
10–11,
96,
180–81,
183,
185–87,
189,
196–97,
199,
201–203,
207,
209,
212,
214,
217,
220
Griffith, D. W.,
23,
65–73,
75,
77,
79–95,
99,
101,
110,
112,
149,
164,
216,
220,
239n8,
240n21,
241n38,
244n71,
245n1Gunning, Tom,
38,
69–73,
91,
99–100,
222n16,
226n1,
227n25,
237n53,
238n59,
238n64,
239n8,
245n1,
253n21
The Hamlet (Faulkner),
144
The House with Closed Shutters,
24,
72,
74
The Jazz Singer,
24,
106–107,
110–15,
117–19,
121–22,
128,
138,
140–41,
159,
173,
233n22,
239n8,
240n17,
241n38,
242n41,
243n60
Kübler-Ross, Elisabeth,
172,
209
Letter from an Unknown Woman,
157
Liquid Electricity; or, the Inventor’
s Fun with Galvanic Fluid,
48
magnetic resonance imaging (MRI),
197The Magnificent Ambersons,
93
McKinley’s Funeral Cortege at Washington, DC,
41
melodrama,
60,
71–72,
75,
85; and tears,
100–101; and “too late,”
71–72,
74,
100,
110,
114,
115,
119–20,
141; “text of muteness,”
81,
85,
120Motion Picture Production Code of 1930,
60Musketeers of Pig Alley,
72,
79
narrator system (Gunning),
69–70,
74
The Perils of Pauline,
75
persistent vegetative state,
183–84posthumous motion,
19,
24,
76,
81,
87–96,
107,
126,
135–36,
139,
196,
201,
207; and the monitor,
186; and the pan,
89–92,
220; and voice-over,
144,
146,
164–67; postdiegetic,
149–50,
171–77,
205The Postman Always Rings Twice (1946),
163
post-synchronization.
See soundPresident’s Bioethics Committee,
9,
186
Reading the Death Sentence,
35
registration,
23–24,
33–34,
48–49,
51–52,
63–64,
66,
68–69,
72,
74–76,
158,
179–80,
193–94,
204,
208,
218,
220; absence of,
55–57,
123,
125–26,
192,
200, and flashback structure,
172–77; and music,
104; and sound,
24,
106,
117–42; and space,
133–35,
141; and the camera,
26,
57,
122–23; and the monitor,
185,
191,
199,
201–203,
208–213,
217; and voice-over structure,
144,
152–71,
208–209; as crying,
132; as motivation for documentary,
218–20; in Griffith,
79–81 86,
91; nonhuman,
24,
66,
75,
91,
96–97Reprieve from the Scaffold,
35,
164
Rhetorica ad Herennium,
95
San Francisco Examiner,
61
The Scarlet Letter (1926),
97–98
Silverman, Kaja,
13,
42,
157,
200–201,
224n30,
228n34,
242–43n51,
248n35,
256n54,
256n56,
256n58Sobchack, Vivian,
4,
18,
20–22,
28,
85,
222n11,
227n21,
231n72,
236n44sound (in cinema),
23,
105,
117–18; and the continuous-level soundtrack,
139; as noise,
119; asynchronous,
119–23,
126–28,
135; post-synchronization,
110,
129–34; synchronized,
104–105,
110,
112,
114,
125,
128.
See also music;
acousmatic soundSpanish-American War, the,
44Stewart, Garrett,
13,
16,
22,
170,
223n27,
224n34,
234n24,
235n39,
237–38n57,
246n20,
252n17stillness: as perpetual death,
207–209; motion of,
84; slide to inertia,
48,
54,
68,
76,
80,
83–86,
101,
104
tableau,
70,
77–78,
84,
86,
88–90,
101,
109–110,
114,
209; and editing,
77; of grief,
70,
76,
80,
131–32,
148Telotte, J. P.,
155,
159,
161,
170,
246n17,
247n29,
247n31,
248n38,
249n52,
250n62Thank You and Goodnight,
21,
218
voice-over,
23; of the dead (voice-after),
164–71; of the dying,
152–64
wax museum (Musée Grevin),
39Williams, Linda,
71,
73,
100,
110–11,
115–16,
231n70,
233n17,
233n22,
238n69,
239n7,
239n9,
240n15,
240n17,
240n20,
241n23,
241n37,
246n19Winslow, Jacque Bénigne,
7–8The Wizard of Oz,
21,
109