@article{ref1,
title="Cinema and suicide: necromanticism, dead-already-ness, and the logic of the vanishing point",
journal="Cinema journal",
year="2014",
author="Aaron, Michele",
volume="53",
number="2",
pages="71-92",
abstract="This article explores fiction film's limited but highly symbolic representation of suicide, of, that is, an individual's witting or self-willed self-killing. In doing so, it distinguishes mainstream cinema's mortal economies. These, the death-dealing visual and narrative logic of film itself, depend on the interplay of identity and power, of--more immediately--gender, nation, and race. This complex interplay is animated here through an analysis of Sofia Coppola's The Virgin Suicides (1999) and Hany Abu-Assad's Oscar-nominated film Paradise Now (2005) and comes to determine my identification of mainstream cinema as necropolitical.<p /> <p>Language: en</p>",
language="en",
issn="1527-2087",
doi="10.1353/cj.2014.0019",
url="http://dx.doi.org/10.1353/cj.2014.0019"
}