{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":1,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":15,"n_cols":5,"rows_kept":15,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[4,2,4,3],[5,2,5,3],[6,2,6,3],[9,2,9,3],[10,2,10,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910569299003321"]
[null,null,"Autore",null,"Seelinger Christoph"]
[null,null,"Titolo",null,"Tod im Kino : Indexikalisches Sterben in ikonisch-symbolischen Ordnungen des kinematographischen Diskurses"]
[null,null,"Pubbl/distr/stampa",null,"Büchner-Verlag, 2022"]
[null,null,"ISBN",null,"3-96317-845-0"]
[null,null,"Descrizione fisica",null,"1 online resource (634 p.)"]
[null,null,"Soggetti",null,"Film theory & criticism"]
[{"$nulls":4},"Film: styles & genres"]
[{"$nulls":4},"Germany"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Christoph Seelinger liefert in seiner Promotionsschrift einen Überblick über Legitimations- und Funktionalisierungsstrategien dokumentarischer Toten- und Todesszenen im Erzählkino. Seelingers chronologischer Bogen beginnt bei den frühesten animalischen Toden vor laufender Kamera wie beispielsweise der filmisch festgehaltenen Hinrichtung des Elefantenweibchens Topsy in »Electrocuting an Elephant - Thomas A. Edison« (1903) und er führt bis zu den Hochglanz-Snuff-Videos der Medienabteilung des Islamischen Staates in den 2010er Jahren. Zwischen diesen beiden Polen betrachtet der Autor mit derselben medienwissenschaftlichen Hinwendung arrivierte Arthouse-Filme, vor allem aber auch zahllose als Trash und Exploitation abqualifizierte Vertreter des Bahnhofskinos, die einem akademischen Zugriff bislang entzogen waren. Das Ergebnis ist ein Streifzug durch die verfemteren Regionen der Kinogeschichte und dabei nichts weniger als die erste auführliche Geschichte des Einbruchs realer Todesdarstellungen in die Fiktion des Spielfilms."]
[{"$nulls":4},"In his doctoral dissertation, Christoph Seelinger provides an overview of strategies for legitimizing and functionalizing documentary death scenes in narrative cinema. Seelinger's chronological arc begins with the earliest animal deaths on camera, such as the filmed execution of the female elephant Topsy in »Electrocuting an Elephant - Thomas A. Edison« (1903), and it continues to the glossy snuff videos of the Islamic State's media department in the 2010s. Between these two "]
[{"$nulls":4},"poles, the author - with the same academic scrutiny - looks at established arthouse films, but all also at countless representations of station cinema that have been dismissed as trash and exploitation and have so far eluded academic research. The result is a foray through the more ostracized regions of cinema history and, in the process, nothing less than the first detailed history of the intrusion of real depictions of death into the fiction of the feature film."]