Cinema, Death and the Abject

Cover of Cinema, Death and the Abject
1.126
Foreign returned: Between expatriate and repatriate in Mumbai
Feature
Balamohan Shingade

Published 01 September 2018
1.126
Human flow in Melanesia: Taloi Havini's artefacts and habitats
Feature
Nicholas Thomas

Published 01 September 2018
1.122
Living and dying under surveillance: Xu Bing's Dragonfly Eyes
Feature
Sasha Grbich

Published 01 September 2018
Joondalup
1.122
Inhuman flow: Censorship and art in the two Chinas
Feature
Darren Jorgensen and Tami Xiang

Published 01 September 2018
1.126
Sublime Plight: Richard Mosse, Ai Weiwei and the social turn
Feature
Wes Hill

Published 01 September 2018
1.3
YARN: The art of conversation
Feature

Coby Edgar interviews Warren Roberts, CEO of YARN Australia

Published June 2018
NAVA
1.126
Editorial: Kanarn Wangkiny/Wanggandi Karlto (Speaking from Inside)
Feature
Clothilde Bullen with James Tylor

Published 01 June 2018
1.276
Katie West: Living well
Feature
Katie West

Published 01 June 2018

Cinema is both dead and deathless. Cinema like this can take us to the great chasm in our lives and hold us over the edge.

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More from this Issue Full Issue Contents

Death, Pleasure and Gender in Film
Feature
Barbara Creed

The cinema's ability to represent death - the act of dying, bodily transformations, decay, the corpse - in astonishing realistic terms helps to explain why film, the moving rather than the static image, has become the central depository of death narratives (ancient and modern) in contemporary culture.

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Nuclear conflagration - whether real or imagined - captivated the post war psyche. Endist images of one form or another were developed in response to what many foresaw as the likely outcome of a third world war.

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Feature
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Images of death explored in the context of the exhibition 600,000 hours (mortality) held at the Experimental Art Foundation, Adelaide South Australia October 1994.

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Published December 1994
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Published December 1994
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Published December 1994
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Editorial
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Postmodern culture has proclaimed the death of meaning, of the real, of metanarrative. Identity, memory, the body, nature, culture, power and the sacred - those fundamental ingredients of death's imagination - have undergone profound transformations over the last three decades. The contributions in this issue of Artlink address various parts of this new vision of death.

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Published December 1994
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