Outi Hakola - Böcker

End-of-life documentaries have proliferated in the 21st century as various organisations, institutions, journalists, independent filmmakers, and members of the public have wanted to give death and dying a face in the public discussion. Each documentary film that concerns individuals with a terminal illness, in hospice care, or desiring assisted death, redefines cultural expectations of what dying is and feels like. These films invite their viewers to witness intimate and emotional moments of dying people, including moments on their deathbed. Filming Death explores these documentaries as ethical spaces, asking the viewers to learn how to engage with end-of-life through the experiences of others and to find ways to alleviate potential death anxiety. The book argues that the diversity of documentary films resists simplified moral divisions between good and bad death, and instead, embellishes diverse realities where dying takes many forms, ranging from death acceptance to raging to death.

End-of-life documentaries have proliferated in the 21st century as various organisations, institutions, journalists, independent filmmakers, and members of the public have wanted to give death and dying a face in the public discussion. Each documentary film that concerns individuals with a terminal illness, in hospice care, or desiring assisted death, redefines cultural expectations of what dying is and feels like. These films invite their viewers to witness intimate and emotional moments of dying people, including moments on their deathbed. Filming Death explores these documentaries as ethical spaces, asking the viewers to learn how to engage with end-of-life through the experiences of others and to find ways to alleviate potential death anxiety. The book argues that the diversity of documentary films resists simplified moral divisions between good and bad death, and instead, embellishes diverse realities where dying takes many forms, ranging from death acceptance to raging to death.

Zombies, vampires and mummies are frequent stars of American horror films. But what does their cinematic omnipresence and audiences’ hunger for such films tell us about American views of death? Here, Outi Hakola investigates the ways in which American living-dead films have addressed death through different narrative and rhetorical solutions during the twentieth century. She focuses on films from the 1930s, including Dracula, The Mummy and White Zombie, films of the 1950s and 1960s such as Night of the Living Dead and The Return of Dracula, as well as more recent fare like Bram Stoker’s Dracula, The Mummy and Resident Evil.

The ideologies and practices of various populist movements are centered on issues of gender, especially idealized notions of masculinity. Offering cultural, political, and historical approaches from a range of interdisciplinary and international perspectives, The Culture and Politics of Populist Masculinities analyzes articulations and performances that link populism to masculinity. In particular, the collection studies political participation in the form of public debates, media, and popular culture. The authors emphasize that in order to understand what can be defined as populism, we need to look at the culture that it inhabits and the efforts to claim, challenge, and reclaim the popular. Writing from a wide range of international contexts, the contributors to The Culture and Politics of Populist Masculinities explore how populist masculinities are articulated and performed, whether there is something problematic about a specifically masculine populism, and whether there is hope for a pluralist, inclusive, even progressive form of masculine populism.Culture and Politics of Populist Masculinities’ international range of contributors explore how populist masculinities are articulated and performed, whether there is something problematic about a specifically masculine populism, and whether there is hope for a pluralist, inclusive, even progressive form of masculine populism.