Angl-Am - User contributions [en]

2008-09 MM Academic Discourse in Cultural Studies: The US Presidential Election 2008

2008-11-02T14:34:16Z

Bastian Martens: /* '''Obama 4 President Countdown!''' */

{{Template:Navigation:US Presidential Election 2008}}

== '''Obama 4 President Countdown!''' ==

'''Bitte tragt an dieser Stelle eure Namen und in Klammern dahinter ein, WAS genau Ihr mitbringt!'''

'''Kaffeemaschine/ Filter/ Wasserkocher/Küchenrolle:'''
Miriam Argundogan (beide Geräte inkl. Filter und Küchenrolle)

'''Milch und Zucker:''' Anna Kubik

'''Kaffee/Tee:''' Anna Kubik (kann Tee mitbringen, mal sehen was den Kaffee angeht...)

'''Süßigkeiten:''' Anna Kubik: Schokolade!

'''Kekse/ Kuchen:'''

"Obamas" & "McCains" aka. Brownies & Blondies (der andere Gerrit)

home made chocolate chip cookies (Gerrit P.)

Brownies und Kuchen (Anke und Josefine)

Brownies und Muffins (Ina und Anja B.)

'''Knabberzeug / Chips/ Erdnüsse/ Flips etc.: '''

Chips (Lindsay and Heiko 2 Tüten)

Salzstangen, Chips oder so. (Marc)

Tuc, veg & dip (Nina)

Karotten, Paprika und Frischkäse zum Dippen (Bastian)

'''Suppe:'''

"The Melting Pot" aka. Hackfleisch-, Kaese-, Lauch-Suppe (der andere Gerrit)

'''Spiele:'''

We could have a President quiz... Done! (Brigitte)

'''Sonstiges:'''
Für das richtige US-Ambiente wäre ein wenig Raumdeko nicht verkehrt. Wenn ihr also alte Flaggen oder anderen patriotischen Krams findet, MITBRINGEN!!! :) (maggie)

'''Ideen für Spiele:'''

'''You can find the video clip that explains how the presidential election works at:'''

Video: Electing a US President in Plain English
http://commoncraft.com/store-item/election

Here is a video of Homer Simpson trying to vote for Obama:

http://netzpolitik.org/2008/wahlcomputern-bei-den-simpsons/

2008-09 MM Academic Discourse in Cultural Studies: The US Presidential Election 2008

2008-10-20T15:49:48Z

Bastian Martens:

Since the course is full, no new students can be admitted.

{{Template:Navigation:US Presidential Election 2008}}

'''Assignment for Oct 22nd: 5-10 minute presentations on voting behavior and trends of particular demographic groups:'''

Please enter your topic and names (first and last, please) here

#Gender (Marc Fellmann, Britta Osterhus)
#Hispanic Americans (Josefine Baumann, Phillip Spilker)
#African Americans (Anja Breiler, Ina Horstmann)
#Youth Vote 18-24 (Bastian Martens, Robert Stahlschmidt)

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-09-05T09:43:12Z

Bastian Martens: /* Progress */

On this page I will present '''SOME''' information and discussion on my final thesis. Consider it as a kind of diary, although I don't know whether I will constantly post here or not... --[[User:Bastian Martens|Bastian Martens]] 22:42, 6 August 2008 (CEST)

''' "Execution" (2007) - design and reception of a non-mainstream death row movie '''

__TOC__

== Introduction ==

I'm writing my final thesis on a death row movie simply called "Execution", a film which I haven't seen and won't see unless the producer manages to get it published on DVD before the end of november. What is most important about this film is, that is different from the films we've seen in the seminar [[2008 MM Present US-Cinema and the Death Penalty|Present US-Cinema and the Death Penalty]]. Therefore, I'll try to find out what is different about this film...

== Collection of thoughts and ideas ==

Here I will collect any unassorted thoughts, ideas and questions on the issue, until I manage to incorporate these thoughts, etc. into other parts of this page.

== Diary ==

Here I will try to give some information on my progress, although I might cancel the idea if it gets to disquieting. ;-)

until now: I've made up my mind about the general direction of this thesis and found some ideas to get started with. I've (superficially) browsed the films homepage and watched the YouTube films on it. Most important: I got into contact with "Execution" producer Steven Scaffidi and he offered his help. This will hopefully give me some new insights, especially on his ideas concerning the design of the film. We'll see what he's got to say...
I've also written mails to some people who hosted screenings of the film.

04/08/2008: written next mail with a lot of questions to Steven Scaffidi and received his answer within a few hours! Most interesting about that:
* He agrees on his film being considered as non-mainstream, but thinks that ALL death row movies, even 'Dead Man Walking', are non-mainstream.
* While talking about stars, success of a movie and uniqueness he compared his film to 'Blair Witch Project', which worked without any famous stars but still was very successful due to its uniqueness. I had thought about that comparison but didn't expect to hear it from the producer himself in the first place!

I also got a short reply by Dr Loraine Gelsthorpe of Cambridge University, who I had asked about the screening and the audience's response.

06/08/2008: started reading Guest, David: Sentenced to Death - The American Novel and Capital Punishment. --> He writes about the DP's representation in fiction. It should be easy to transfer or expand some of his ideas from novels to movies.

05/09/2008: done a lot of reading about movies, movie reception, wrong assumptions when analyzing films; watched some movies again and completed a list of possible criteria Death Row Movies seem to share (see below); written some more mails to Steven Scaffidi...

== On the thesis itself ==

=== Preliminary structure ===

:1. Introduction
:2. The development of Death Row Movies
:3. “Execution”
:3.1 General information – “This is as real as it can get”
:3.1.1 Content
:3.1.2 from first contact to screening – the process
:3.1.3 From actors to characters
:3.1.3.1 A true convict
:3.1.3.2 A true prison warden
:3.1.3.3 A true prison priest
:3.2 Design
:3.2.1 Script?!?
:3.2.2 Awareness of genre features (Breaking with Hollywood conventions?)
:3.2.3 Intentions
:3.2.4 The idea of the screening
:3.2.5 www.executionfilm.com and other online presentations
:3.2.6 Voices of actors
:3.3 Reception
:3.3.1 www.executionfilm.com and other online receptions
:3.3.2 Public reactions (TV, newspapers…)
:3.3.3 Meta-reception
:4. Conclusion

I'm still re-thinking some of the titles...

=== Progress ===

This is a list of 46 (!) elements/categories/aspects Death Row Movies seem to share. I'm still figuring out, which are more important and which are rather insignificant, as not all of these elements reoccur in every Death Row Movie. Some of these elements are neatly tied together, so I will probably group them under one headline (1 Facts about convict; a, b, c...)

For the time being, I'm waiting for Steven Scaffidi's response to my last mail, in which I asked him to complete the missing facts about 'Execution'. I really am expecting there to be some significant differences to other films!!!

{|
|1.
|gender of convict
|-
|2.
|race of convict
|-
|3.
|guilty of the crime he’s been sentenced for
|-
|4.
|Confesses the deed from the very beginning
|-
|5.
|Confesses the deed later on in the movie
|-
|6.
|audience knows the truth from the beginning
|-
|7.
|Or: truth is revealed during the movie
|-
|8.
|time on deathrow
|-
|9.
|film starts:
|-
|10.
|repentant
|-
|11.
|executed
|-
|12.
|method of execution
|-
|13.
|procedure explained
|-
|14.
|closing of the shutters
|-
|15.
|opening of the veil to the witnesses’ room
|-
|16.
|reading out the legal text
|-
|17.
|phone call with response “but it’s too late”
|-
|18.
|eye contact with dear one during execution
|-
|19.
|reflections in the window between convict and dear one
|-
|20.
|last meal is part of the film
|-
|21.
|priest offering his service
|-
|22.
|Receives last rites by a priest
|-
|23.
|is offered a sedative
|-
|24.
|refuses to take sedative
|-
|25.
|Last meeting with convict’s family/dear ones
|-
|26.
|Communication/Socialisation with other inmates
|-
|27.
|Other aspects of prison life
|-
|28.
|talk about the guards’ work
|-
|29.
|intimate relationship between convict and consulting person
|-
|30.
|consulting person tries to save convicts life shortly before the execution
|-
|31.
|victim’s family’s point of view
|-
|32.
|at least 1 vehement supporter of the DP among victim’s family?
|-
|33.
|flashbacks of the crime?
|-
|34.
|Other revisiting of the crime scene(s)
|-
|35.
|stars
|-
|36.
|Argumentation of the DP on a religious level
|-
|37.
|Argumentation of the DP on an ethical level
|-
|38.
|Argumentation of the DP on a political level
|-
|39.
|political representative involved (e.g. governor)
|-
|40.
|Are both sides of the discussion (on no matter what level) presented
|-
|41.
|length of walk
|-
|42.
|length of preparation
|-
|43.
|length of execution
|-
|44.
|at least partly filmed in real prison
|-
|45.
|based on a book
|-
|46.
|based on a true story
|-
|}

Furthermore, I've checked the "elements [film companies] need to market a film successfully" as Griffin Mill (Tim Robbins) names them in 'The Player':

{|
|1.
|suspense
|-
|2.
|laughter
|-
|3.
|violence
|-
|4.
|hope
|-
|5.
|heart
|-
|6.
|nudity
|-
|7.
|sex
|-
|8.
|happy endings ("mainly happy endings")
|-
|
|June also asks for another element to which Griffin does not respond. Yet, it seems to be of some importance:
|-
|9.
|reality
|-
|}

Interestingly but not surprisingly, happy endings and reality avoid each other's company...

== Links ==

[http://www.executionfilm.com/execution_dot_com/main.php www.executionfilm.com]

[http://www.imdb.com/title/tt0972554/ Execution at IMDb]

[http://www.guardian.co.uk/society/2008/apr/23/prisonsandprobation Interview with Billy Moore at guardian.co.uk]

[http://www.voice-online.co.uk/content.php?show=13390 Interview with Billy Moore at voice-online.co.uk]

[http://www.youtube.com/view_play_list?p=7FC63C52F7313AB7 youtube playlist on "Execution"] includes trailers, interviews and scenes from the movie.

[[Category:Project|Execution]]

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-09-05T09:06:21Z

Bastian Martens: /* Preliminary structure */

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-09-05T09:02:46Z

Bastian Martens: /* Preliminary structure */

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-09-05T08:47:10Z

Bastian Martens: /* Diary */

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-08-07T21:36:26Z

Bastian Martens: /* Links */

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-08-07T21:35:57Z

Bastian Martens: /* Links */

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-08-07T21:35:27Z

Bastian Martens: /* Links */

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-08-06T20:42:43Z

Bastian Martens:

"Execution" (2007) - design and reception of a non-mainstream death row movie

2008-08-06T20:42:04Z

Bastian Martens:

User:Bastian Martens

2008-08-06T19:45:00Z

Bastian Martens:

A short introduction:

My name is Bastian Martens. I'm studying English and History (LA Gym) at the CvO-University, Oldenburg.

(More information is soon to come...)

'''Recently involved in:'''

[[2008 MM Origins of the Novel 1473-1700|Origins of the Novel 1473-1700]] --> Mission accomplished!
* [[Rogue Stories Research Group]] --> Mission accomplished!

[[2008 MM Present US-Cinema and the Death Penalty|Present US-Cinema and the Death Penalty]] --> turned into an "Examensarbeit":
:[["Execution" (2007) - design and reception of a non-mainstream death row movie]]

--[[User:Bastian Martens|Bastian Martens]] 09:13, 21 April 2008 (CEST)

Talk:2008 MM Present US-Cinema and the Death Penalty

2008-07-16T15:27:37Z

Bastian Martens: /* Topics for seminar papers */

__TOC__

==Preliminary considerations==
''Films in which the accidental death of the criminal reestablishes a higher justice''
Was ist mit der Kategorie gemeint? Ich weiß grad' nichts damit anzufangen ; ) LG, [[User:Verena Engelhardt|Verena Engelhardt]] 15:19, 18 February 2008 (CET)
:Ich hätte das Seminar gerne in drei Blöcke geteilt - die letzte Einheit vielleicht 2 Situngen - und dabi zu Filmen, in denen nicht Dirty Harry die schmutzige Arbeit der Exekution übernehmen muß, sondern der Bösewicht sich gleichsam selbst eleminiert. Die Sache hat eine Grauzone zwischen dem Verbrecher, der dem Polizisten gar keine andere die Wahl mehr läßt, als ihn zu erschießen - Notwehr statt Selbstjustiz und dem Verbrecher, der sich selbst richtet, indem er sich erschießt oder gegen seinen Willen abrutscht und in den Tod stürzt. Ich habe da zweitausend Szenen im Kopf, doch fällt mir nicht ein, wo sich das besonders gut zeigt. Ich denke, wenn man darüber nachdenkt, dann findet man, daß in US-amerikanischen Filmen die himmlische Gerechtgkeit öfter die Tötung des Bösewichts erledigt als in deutschen - und das hat mit der Debatte um die Todesstrafe zu tun. Eine Kultur, die empfindet, daß so ein Verbrecher besser nicht überlebt, sieht die Todesstrafe anders... --[[User:Olaf Simons|Olaf Simons]] 15:46, 18 February 2008 (CET)
::Ah, okay. Das finde ich sehr interessant. Da gibt es ja massig Filme in denen der Böse lieber stirbt als ins Gefängnis zu gehen, oder sonstwie zu Tode kommt, bevor er vor ein Gericht gestellt wird - ich denke jetzt zB an "Stirb langsam" - fiele das auch in die Kategorie? (Bin mir nich' sicher). [[User:Verena Engelhardt|Verena Engelhardt]] 15:57, 18 February 2008 (CET)
:::... also, 'Stirb langsam' zB besteht aus folgenden [http://german.imdb.com/title/tt0095016/keywords Plot Keywords] vielleicht ist da was mit dabei...
::::Es gibt sogar ein keyword, das heißt [http://german.imdb.com/keyword/die-hard-scenario/?sort=date Die Hard Scenario]... tse, [[User:Verena Engelhardt|Verena Engelhardt]] 16:36, 18 February 2008 (CET)
:::::''Die Hard'' ist mir an einer Stelle unangenehm im Vergleich, da hier ein Einzelner mit einer ganzen Terrorgruppe abrechnen muß - und sich als nicht totzukriegen erweist. Es geht mir jedoch nicht um Bruce Willis als Katze mit sieben Leben... ansonsten hatte ich an die Serie bereits gedacht. --[[User:Olaf Simons|Olaf Simons]] 16:51, 18 February 2008 (CET)
An welche Filme hast Du denn gedacht? Ich selbst habe einige Filme im Kopf, in denen am Ende der Böse getötet wird oder sich selbst tötet, mit der Variante Held überlebt oder Held stirbt ebenfalls, aber die haben nicht unbedingt mit der Todesstrafe zu tun. Zu welchen Filmen gehören Deine Szenen? Dann könnte ich das für mich selbst mehr eingrenzen... [[User:Verena Engelhardt|Verena Engelhardt]] 22:45, 18 February 2008 (CET)
:Gut sind Filme, die im Genre den Selbstjustiz-Filmen nahekommen - bei denen man sehen kann: hier ist vor allem eins geschehen - der Autor hat es dem Opfer oder Polizisten erspart, sich die Hände schmutzig zu machen. Man kann dann klarer darüber nachdenken, welche Unterschiede es macht, wenn die Sanktion nicht über einen Menschen erfolgt, dem Schicksal oder dem Kriminellen überlassen bleibt. Ich frage mich, was das in der Emotion ändert, die beim Zuschauer bleibt, und will darum möglichst eng an den Plot rangehen, den andere Filme bereits haben. --[[User:Olaf Simons|Olaf Simons]] 10:28, 19 February 2008 (CET)
::Hast Du Filmtitel? [[User:Verena Engelhardt|Verena Engelhardt]] 10:35, 19 February 2008 (CET)
:::Habe nachgedacht. Wie stirbt eigentlich Shinzon in Star Trek X?
:::Ein (Horror-)film, den ich kenne, in dem der Bösewicht am Ende durch "höhere Gewalt" stirbt, ohne dass der Held ihn tötet, ist [http://www.imdb.com/title/tt0295254/ FeardotCom] (2002). Der Film handelt von einer Internetseite, und jeder Besucher dieser Seite stirbt nach 48 Stunden. Ein Polizist und eine Dame vom Gesundheitsamt versuchen, die Morde aufzuklären und sehen sich die Seite an. Sie finden heraus, dass der Geist des erste Opfers des Killers sozusagen "virtuell" weiterlebt und diese Seite kreiert hat, um Rache auszuüben. Am Ende wird der Killer von eben diesem "Geist" getötet.
:::Ich weiß allerdings nicht, ob dieser Film wirklich in Deine Kategorie/Block III reinpasst. Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 16:24, 21 February 2008 (CET) (übrigens ist es Anthony Hopkins, auf dessen Namen wir nicht kamen)
::::An diese Szene - Picard gegen seinen Mutantensohn hatte ich auch gedacht - da ich sie sah, und bereits über das kommende Seminar nachdachte. Der Typ wird aufgespießt, spießt sich selbst auf, da er dem Papi ans Leben will, aber irgendwi macht das Picard auch... typisch dachte ich mir. Von der Gattung paßt's nicht. Der Horrorfilm klingt witzig. Sollte ich mir wohl zulegen. --[[User:Olaf Simons|Olaf Simons]] 16:34, 21 February 2008 (CET)
Ich sehe gerade, dass "Double Jeopardy" nicht auf der Seminarliste steht - vielleicht würde er unter 16.05. passen. 'Lücken': Sie wird angeklagt und verurteilt (ich glaube wegen Totschlags, da die Leiche nicht gefunden wurde), kommt auf Bewährung (wg Gnadengesuch, guter Führung... irgendwie sowas) wieder frei und erschießt (aus Notwehr) am Ende ihren Ex-Mann und kann nicht ein zweites Mal für dieses Verbrechen angeklagt werden, weil sie bereits angeklagt und verurteilt worden ist. Und 'Identity' steht dafür doppelt... [[User:Verena Engelhardt|Verena Engelhardt]] 18:12, 8 March 2008 (CET)

:Meine Gedanken kreisen immer noch um das Thema der filmischen Darstellung, und ob die Filme (im Ggs. zu den Dokus) nicht ein verfälschtes Bild darstellen von Gesetzen, Gerichtsverhandlungen, Verbrechen, Verbrechensbekämpfung, Todesstrafe etc. und ich stelle mir die Frage, ob unser aller Blick auf das Thema durch die Filme nicht verfälscht wird.
:Was lernen wir tatsächlich über das Thema Todesstrafe? Vermischen sich unsere Eindrücke nicht mit den Szenen aus den Filmen? Unser Nachdenken wird durch die Filme verändert und beeinflusst, dabei stellen sie kein reales Bild dar - denn es sind Spielfilme, und Spielfilme haben eine andere "Aufgabe" als Dokus, auch wenn sie "auf wahren Begebenheiten" beruhen. Wenn wir am Ende des Seminars resümieren, inwie weit wird sich unser Nachdenken auf die Filme beziehen? Und es gilt, die Filme kritisch zu sehen! Wie wird das Thema filmisch umgesetzt und dargestellt, wie wird es dramatisiert oder für den Unterhaltungszweck verfremdet?
:Siehe Troja - ein Film, ein "Geschichtsepos", dessen Regisseur es sich erlaubte, geschichtliche Daten zu Gunsten des Filmes und seiner Geschichte zu ändern - und Leute nehmen den Film als Geschichtsunterricht und als "wahr" - "so also war es damals, als die schöne Helena....." Vielleicht wäre es daher auch ratsam, sich nicht nur die Filme, sondern auch die Dokumentationen anzusehen, um eben die Filme kritisch reflektieren zu können, um nicht ihren Inhalt als wahr, real, realistisch oder authentisch zu nehmen und darauf dann unser Nachdenken aufzubauen.
:Abgesehen davon halte ich das auch für zu beschränkt. [[User:Verena Engelhardt|Verena Engelhardt]] 17:40, 13 April 2008 (CEST)
Hallo,

wollte hier nur mal kurz darauf hinweisen, dass der in der Liste aufgeführte "Punisher" ein Remake von 1989 ist (das Original ist allerdings kein Stück besser). Außerdem kann man auf www.imdb.com auch Filme nach plot-keywords suchen, unter anderem nach "poetic justice". http://www.imdb.com/keyword/poetic-justice/
Allerdings befürchte ich, dass die Filmauswahl nicht dem entspricht, was wir suchen. [[User:Jochen Berkowsky|Jochen Berkowsky]] 10:55, 14 April 2008 (CEST)
:So haben wir's natürlich auch gemacht... Poetic Justice ist da ein Stichwort mit dem IMDb nicht gut umgeht... --[[User:Olaf Simons|Olaf Simons]] 11:15, 14 April 2008 (CEST)
::Wahrscheinlich, weil sie das anders definieren und damit anders auflisten. Auf der anderen Seite steht unter dem Stichwort auch "The Green Mile" - und ich überlege gerade, wo da "poetic justice" ist...[[User:Verena Engelhardt|Verena Engelhardt]] 12:18, 14 April 2008 (CEST)
Schätze, da gehts um folgende Szene:
"Paul und seine Kollegen bringen den erschöpften Strafgefangenen wieder in den Todestrakt zurück. Als Percy nach seiner Freilassung an Johns Zelle vorbeigeht, packt ihn dieser plötzlich, bläst ihm etwas in den aufgerissenen Mund und stößt ihn zurück. Percy taumelt, bleibt vor Bills Gitter stehen und feuert auf ihn, bis sein Revolver leer ist. Dann bleibt er entgeistert stehen, bis er abgeführt wird. Er endet apathisch in einer Irrenanstalt.
"Ich habe die beiden bösen Männer bestraft", sagt John." [[User:Jochen Berkowsky|Jochen Berkowsky]] 17:14, 14 April 2008 (CEST)

:Uhm - ich weiß nicht, ob die Simpsons gerechtfertigt sind. Ich fand die Episode lustig, meine mich auch zu erinnern, dass sich die beiden Priester (einer Katholisch, der andere Protestantisch) sich darum streiten, wer zu Homer darf und wer nicht. Wenn es nicht passt und Du es lieber wieder herausnehmen willst, kannst Du es löschen. [[User:Verena Engelhardt|Verena Engelhardt]] 16:40, 23 May 2008 (CEST)

==Course outline==
I have just given a provisional outline of the seminar. Your thoughts are welcome. --[[User:Olaf Simons|Olaf Simons]] 16:52, 25 February 2008 (CET)

:I thought about another great movie, where self-justice is shown: Memento. Though it is not the typical "Death Penalty" movie, it might be interesting to have a look at it. [[User:Philipp Kreutzer|Philipp Kreutzer]]

::I've tried to find "Execution" on DVD, but it's not available anywhere and there is no release date for the European market. Besides, imdb adds this trivia to the movie: ''The movie features a real death row inmate, a real death row warden and a real death row priest playing their respective parts'' - therefore, I would like to remove the movie from the list, because I doubt one could compare a movie that wants to grasp real life in that way to a movie that is totally based on a fictive story (the novel) - that doesn't work (as long as there is no genre discussion included). Maybe we could compare "The Life of David Gale" and "True Crime" as they are both fictive (as far as I know) and both deal with journalists finding the truth etc. (uhm, - and because the film is not available, as I said :-) [[User:Verena Engelhardt|Verena Engelhardt]] 19:52, 4 May 2008 (CEST)

:::Don't remove it - these are the interesting aspects for which the title deserves to be on this list. It is a controversial item - we might add. Yet I realise it will be difficult to get hold of it. (I might ask our American students), --[[User:Olaf Simons|Olaf Simons]] 08:59, 5 May 2008 (CEST)

::::Even if you find someone to purchase the film it might be too late till the 23rd of May (Btw: Are American DVDs playable on a European Computer? Because you can't play them on a European DVD Player) [[User:Verena Engelhardt|Verena Engelhardt]] 09:47, 5 May 2008 (CEST)
::::Plus, I didn't find it on amazon.com either. So the release date on imdb might refer to the release date for cinemas. On the official website you can a leave a message for getting informed when the DVD will be available in your region, country, state, continent... [[User:Verena Engelhardt|Verena Engelhardt]] 09:54, 5 May 2008 (CEST)

:::: Think it can be played on some DvD Players, mine certainly does, never had problems with DvDs from the states.Just my 2 cents. [[User:Jens|Jens]] 19:38, 8 May 2008 (CEST)

:::::As far as I heard the controversy it aroused made things more difficult. Well - let's see. --[[User:Olaf Simons|Olaf Simons]] 10:05, 5 May 2008 (CEST)

I didn't say it was less interesting. If you get it, I would say it deserves a discussion on its own rather than a comparison to "True Crime" - we could replace it with David Gale on May 30 and we talk about David Gale and True Crime - besides, you would have more time to purchase the film... [[User:Verena Engelhardt|Verena Engelhardt]] 11:21, 5 May 2008 (CEST)

:I'm so sorry! It was my fault: If you click on [http://www.imdb.com/title/tt0972554/releaseinfo release info] and the [http://www.executionfilm.com/execution_dot_com/extras.php?pid=1000 official website], you will see that the movie was shown at festivals and at Universities in the US! It's not on DVD yet. I should have checked this more carefully before putting it on the list... [[User:Verena Engelhardt|Verena Engelhardt]] 20:30, 8 May 2008 (CEST)

::Hast Du einen Alternativplan für den 30.05. wenn Du David Gale vorziehst? Und was ist mit "A Time to Kill"? Fällt der jetzt komplett raus? Ist mir aus Deiner Notiz nicht klar geworden. [[User:Verena Engelhardt|Verena Engelhardt]] 11:36, 14 May 2008 (CEST)

Concerning the question whether a genre of Death Penalty Movies really exists:

I've been searching the web for information on films dealing with the topic hoping to find some films which were published BEFORE 'The Player'. This is what I found:

*[http://www.imdb.com/title/tt0007170/ The People vs. John Doe (1916)]
*[http://www.imdb.com/title/tt0009800/ Who shall take my life? (1917)]

*[http://www.imdb.com/title/tt0023524/ Strange justice (1932)]
*[http://www.imdb.com/title/tt0024561/ The sin of Nora Moran (1933)]
*[http://www.imdb.com/title/tt0027335/ Bars of Hate (1935)]
*[http://www.imdb.com/title/tt0027253/ The Accusing Finger (1936)]
*[http://www.imdb.com/title/tt0029658/ They won’t forget (1937)]
*[http://www.imdb.com/title/tt0030303/ Juvenile court (1938)]
*[http://www.imdb.com/title/tt0031126/ Buried Alive (1939)]

*[http://www.imdb.com/title/tt0032245/ Before I hang (1940)]
*[http://www.imdb.com/title/tt0032428/ East Side Kids (1940)]
*[http://www.imdb.com/title/tt0035582/ You can’t escape forever (1942)]
*[http://www.imdb.com/title/tt0037001/ Lady in the Death House (1944)]
*[http://www.imdb.com/title/tt0038722/ The man who dared (1946)]
*[http://www.imdb.com/title/tt0040460/ I wouldn’t be in your Shoes (1948)]

*[http://www.imdb.com/title/tt0044088/ The sun sets at dawn (1950)]
*[http://www.imdb.com/title/tt0049006/ Beyond a reasonable doubt (1956)]: A remake of this film will be published in 2009!
*[http://www.imdb.com/title/tt0049856/ Time without pity (UK, 1957)]
*[http://www.imdb.com/title/tt0051758/ I want to live! (1958)]
*[http://www.imdb.com/title/tt0052700/ Compulsion (1959)]

*[http://www.imdb.com/title/tt0263189/ The Chair (1963)]: Documentary
*[http://www.imdb.com/title/tt0061809/ In cold blood (1967)]

*[http://www.imdb.com/title/tt0066730/ 10 Rillington Place (UK, 1971)]
*[http://www.imdb.com/title/tt0069384/ To encourage the others (UK, 1972)]
*[http://www.imdb.com/title/tt0070782/ Terminal Island (1973)] (pro death penalty?)
*[http://www.imdb.com/title/tt0076262/ Kill me if you can (1977)]
*[http://www.imdb.com/title/tt0079668/ The onion field (1979)]: based on 1973 non-fiction book, written by LAPD Officer Joseph Wambaugh.

*[http://www.imdb.com/title/tt0083909/ The Executioner's Song (1982)] (pro death penalty?)
*[http://www.imdb.com/title/tt0086356/ The Star Chamber (1983)]: there probably will also be a remake in 2009.
*[http://www.imdb.com/title/tt0084867/ Vigilante (1983)] (pro death penalty?)
*[http://www.imdb.com/title/tt0085398/ Daniel (1983)]
*[http://www.imdb.com/title/tt0089111/ The execution of Raymond Graham (1985)]: TV production
*[http://www.imdb.com/title/tt0092858/ Death of a Soldier (1986)]: DP as political instrument
*[http://www.imdb.com/title/tt0096257/ The thin blue line (1988)]
*[http://www.imdb.com/title/tt0095958/ Rampage (1988)] (pro death penalty?)

*[http://www.imdb.com/title/tt0100797/ Too young to die? (1990)]: TV production
*[http://www.imdb.com/title/tt0102984/ Stone Cold (1991)]
*[http://www.imdb.com/title/tt0105151/ The Player (1992)]
*[http://www.imdb.com/title/tt0104952/ My cousin Vinny (1992)]
*[http://www.imdb.com/title/tt0104744/ Live! From Death Row (1992)]: TV production
*[http://www.imdb.com/title/tt0104502/ In the shadow of a killer (1992)]: TV production
*[http://www.imdb.com/title/tt0106398/ Better off dead (1993)]: TV production
*[http://www.imdb.com/title/tt0106977/ The Fugitive (1993)]: based on a 1963 TV series.
*[http://www.imdb.com/title/tt0112818/ Dead Man Walking (1995)]
*[http://www.imdb.com/title/tt0116827/ Last Dance (1996)]
*[http://www.imdb.com/title/tt0117913/ A Time to kill (1996)]
*[http://www.imdb.com/title/tt0115862/ The chamber (1996)]: based on a novel by John Grisham
*[http://www.imdb.com/title/tt0119728/ Mumia Abu-Jamal: A case for reasonable doubt? (1997)]: documentary
*[http://www.imdb.com/title/tt0154467/ Evidence of blood (1998)]: TV production
*[http://www.imdb.com/title/tt0120901/ Wrongfully accused (1998)]
*[http://www.imdb.com/title/tt0164082/ Last Rites (1998)]: TV production
*[http://www.imdb.com/title/tt0179940/ A lesson before dying (1999)]: TV production
*[http://www.imdb.com/title/tt0139668/ True Crime (1999)]

*[http://www.imdb.com/title/tt0233535/ Deadlocked (2000)]: TV production
*[http://www.imdb.com/title/tt0294514/ Deathrow (2000)]
*[http://www.imdb.com/title/tt0297918/ God and the Death Penalty (2000)]: documentary
*[http://www.imdb.com/title/tt0285742/ Monster's Ball (2001)]
*[http://www.imdb.com/title/tt0827211/ Thanatos Rx: The Death Penalty Debate in America (2001)]: Documentary
*[http://www.imdb.com/title/tt0294918/ Shot in the heart (2001)]: TV production
*[http://www.imdb.com/title/tt0303282/ The execution of Wanda Jean (2002)]
*[http://www.imdb.com/title/tt0309698/ Identity (2003)]
*[http://www.imdb.com/title/tt0289992/ The Life of David Gale (2003)]
*[http://www.imdb.com/title/tt0340855/ Monster (2003)] (pro death penalty?)
*[http://www.imdb.com/title/tt0388367/ Redemption: The Stan Tookie Williams Story (2004)]
*[http://www.imdb.com/title/tt0374584/ Control (2004)]
*[http://www.imdb.com/title/tt0398326/ Shock act (2004)]
*[http://www.imdb.com/title/tt0435181/ Manners of dying (2004)]
*[http://www.imdb.com/title/tt0396190/ Return to sender (2004)]
*[http://www.imdb.com/title/tt0493347/ Fighting for life in the death-belt (2005)]: documentary
*[http://www.imdb.com/title/tt0379725/ Capote (2005)]: tells the story how Truman Capote came to write "In cold blood" (1967)
*[http://www.imdb.com/title/tt0889677/ Willie Francis must die again (2006)]
*[http://www.imdb.com/title/tt0420609/ Infamous (2006)]: another film about Truman Capote and the production of "In cold blood"
*[http://www.imdb.com/title/tt0383478/ Love comes to the Executioner (2006)]
*[http://www.imdb.com/title/tt0411061/ 88 minutes (2007)]
*[http://www.imdb.com/title/tt0972554/ Execution (2007)]
*[http://www.imdb.com/title/tt1227785/ The life penalty (2008)]

*[http://www.imdb.com/title/tt0079761/ Le Pull-over Rouge (France, 1979)]: A French film about a true story which interestingly played an important part in the abolition of the Death Penalty in France in 1981!
*[http://www.imdb.com/title/tt0102288/ Let him have it (UK, 1991)]
*[http://www.imdb.com/title/tt0107381/ Legal Memory (Canada, 1992)]
*[http://www.imdb.com/title/tt0150490/ Executions (UK, 1995)]: documentary
*[http://www.imdb.com/title/tt0168629/ Dancer in the Dark (Europe, 2000)]
*[http://www.imdb.com/title/tt0312756/ Henker – Der Tod hat ein Gesicht (D, 2002)]

I've spent some time on IMDB to update the list and, as you can see, it's become quite long, must be some eighty films now if I'm not mistaken. I went through the 125 results of "capital punishment" and through the 75 results of "death penalty". However, I stopped searching when the search engine offered 571 results for "execution"... In my opinion, the question of a genre of death penalty movies is answered. However, one could think about a concise definition or even sub-categories... --[[User:Bastian Martens|Bastian Martens]] 19:09, 19 June 2008 (CEST)

see also:
*[http://faculty.law.lsu.edu/ccorcos/lawhum/CAPITALPUNISHMENT.htm Death Penalty in Popular Culture]
*[http://library.thinkquest.org/23685/data/filming.html Death Penalty - A Filmography]: a somewhat outdated page - it ends with Dead Man Walking - but still interesting for it offers some films before that, also quite a few European films, which I did not include in this list.

:Thanks for the list and links! Some of them look like the films one has in ones mind - black and white films of the 1950s - fascinating... --[[User:Olaf Simons|Olaf Simons]] 20:59, 5 June 2008 (CEST)

::I find the genre idea somehow intriguing, so I continued browsing through IMDB and still found more films, some old ones, quite a few TV productions... I think I'll update the list next week. One thing I can say in advance: it's the same story again and again: someone is on death row for a crime he or she didn't commit and someone else is trying to prove his or her innocence only a few days or hours before the execution... --[[User:Bastian Martens|Bastian Martens]] 11:59, 6 June 2008 (CEST)

==Topics for seminar papers==
Open sections and discuss your ideas.

* The discussion on the (possible) genre.

There may be two sections (just short notes)

1) Is there a genre called "Death Penalty" or a concept similar to a genre?

*When does a genre begin? (short history of genre (Studio-Ära))
*What constitutes a genre? (Wiederholung von Handlungsmotiven, wiederkehrende Bildmuster, standardisierte Erzählbausteine und voraussehbares Rezeptionsmuster)
*Filmgenre vs. Genrefilm
*Genre Theory
*Genresynkretismus

I would like to take a look at other genres (but focus on one) and their development, since genres like "horror" and "action" did not exist since the very beginning of cinema. The best known genres have (cinematic, structural, narrative…) elements that are characteristic of them and that constitute them. If there are similar elements in films on the Death Penalty, I assume there might be a genre (or concept, the way these films are 'contrived', 'designed', 'fabricated' etc.).

2) What if there is a genre called Death Penalty?

*Genres have rules to which filmmakers are bound
*Simplification of production since genres constist of examples/models/patterns/conventions
*Communication within a group or between several groups (e.g. producers-directors)
*Commerce, box-office results (?)
*Genre-oriented audience and its expectations
*Genre critics

-> If there is a genre, and if genres are bound to rules and models in order to be as much commercially successful as possible, is it possible that a movie (which is bound to these rules, but which deal with such a delicate topic) still claims to be serious, critical, demanding, artistic, qualitative etc.? (I would say no)

* Altman, Rick. ''Film und Genre''. In: Geschichte des Internationalen Films. Geoffrey Nowell-Smith [Hrsg.]. Stuttgart: J.B. Metzler, 2006. p. 253-259.

::Well, I cannot give you an answer (your work would be pointless if I could). Yet we spoke about different aspects marking some of our films:
::*Central protagonist A is on death row, his/her time is running out.
::*Central protagonist B is trying to save him/her (B's emotions create sympathies for A)
::*The story is told with flashbacks (designed to balance the execution?)
::*The execution is performed in one of the final chapters of the film
::*The film is open for debates. Media resonance, public statements, voices of the victim's parents etc. are introduced to fuel the discussion.

::The question might still be: is that a genre? - or just a plot exploited by some films? When does a genre begin? The far more difficult question is: Why ask this question? A possible answer could be: your analysis is different as soon as you see a film as marked by genre conventions. So actually you decide - in order to make certain things visible... Hey, this is your work, not mine! --[[User:Olaf Simons|Olaf Simons]] 15:34, 21 June 2008 (CEST)

:::I just wanted to have a feedback on what I would like to do : ) so, thank you for yours.
:::The questions you mentioned are the ones I want to ask in the paper... so, thank you again :p [[User:Verena Engelhardt|Verena Engelhardt]] 16:09, 21 June 2008 (CEST)

:Hello to all of you who're going to write a seminar paper. As couldn't talk about our ideas for our papers in the last session of the seminar, I'd propose that we meet in the library and exchange our ideas there and then. What about wednesday at 13h in front of the library?
:See you! --[[User:Bastian Martens|Bastian Martens]] 17:15, 13 July 2008 (CEST)

Könnten wir uns vielleicht auch in der Woche danach (ab dem 20.7) (noch)mal treffen? Ich würde nämlich auch ein paar Tipps von euch hören, bin aber erst am 21 wieder in Oldenburg. LG

:Möglich ist alles... So wie's aussieht, werden wir morgen nur 2-3 Leute sein, mehr Rückmeldung hab ich noch nicht bekommen. Wenn sonst noch jemand morgen keine Zeit hat, können wir gerne für nächste Woche noch nen Ausweich-Termin ausmachen. Schlag einfach was vor... --[[User:Bastian Martens|Bastian Martens]] 16:20, 15 July 2008 (CEST)

Gut, dann schlage ich vor, wir treffen uns am 21.07 um 15 Uhr vor der Bibo?!?!

:Passt mir bestens. Wär aber auch mal schön zu hören, ob noch jemand kommt... --[[User:Bastian Martens|Bastian Martens]] 17:27, 16 July 2008 (CEST)

User talk:Bastian Martens

2008-07-15T17:02:23Z

Bastian Martens:

Moin Bastian,

Du sagst, wenn Ihr Infos braucht? Gruß, --[[User:Olaf Simons|Olaf Simons]] 10:06, 21 April 2008 (CEST)

----

'''Grundgedanken zur Examensarbeit:'''

*Mein erster Gedanke war ein Vergleich des Filmes 'The Green Mile' mit der Buchvorlage von Stephen King. Das wäre zwar an sich sehr interessant, aber mittlerweile vermute ich, dass es extrem schwierig wäre, hierfür eine Fragestellung zu entwickeln, die sich auf 80-100 Seiten ausführen ließe.
:Auch wenn's für die Examensarbeit keine Rolle spielt: Hab das Buch mittlerweile durch und muss jetzt einfach ein paar Gedanken festhalten:
:*Ein der meiner Meinung nach wichtigsten Szenen des Buchs in Bezug auf die Argumentation gegen die Todesstrafe wurde nicht im Film umgesetzt:
::Nach dem nächtlichen Ausflug und Melinda Moores' Wunderheilung, hat Paul Recherche betrieben und so herausgefunden, dass Coffey unschludig ist und Wild Bill der mögliche Mörder der Zwillinge war. Er, seine drei Kollegen und seine Frau Janice sitzen nun bei ihm zu Hause, wo er seine Schlussfolgerunegn erläutert und man die Optionen diskutiert. Es stellt sich heraus, dass kein Weg an der Hinrichtung Coffeys vorbeiführt. Während des ganzen Gesprächs beteiligt sich Janice maßgeblich und hinterfragt immer wieder die Argumente der Männer, bis sie schließlich am Ende ausrastet und die Männer anklagt, dass sie in einer Woche selbst Mörder wären, die einen Unschuldigen hingerichtet hätten. ("'Don't touch me,! she said. 'Next week this time you'll be a murderer, no better than that man Wharton, so don't touch me.'") Zwar bleibt die Frage der Unschuld hier das Kernargument gegen die Todesstrafe, aber auch das Thema des Rassismus spielt eine Rolle: "'Do you mean to kill him, you cowards?' she asked. 'Do you mean to kill the man who saved Melinda Moores's life, who tried to save those little girls' lives? Well, at least there will be one less black man in the world, won't there? You can console yourselves with that. ''One less nigger.'' '" Meiner Meinung nach wird Janice Edgecomb hier zur deutlichsten Gegnerin der Todesstrafe.
:*Der Gedanke, dass die 'Green Mile' als Metapher für das gesamte Leben gesehen werden kann, verstärkt sich im Buch. Zum Ende wird nach und nach Geschildert, wie jeder einzelne der für die Geschichte relevanten Charaktere (Hal und Melinda Moores, die Wächter Brutus, Dean und Harry, der 'verrückte' Percy Wetmore, der sadistische Altenheimpfleger Brad Dolan, der Paul immer an Percy erinnert hat, Pauls Altenheimfreundin Elaine, Mr. Jingles, und schließlich Pauls Frau) gestorben ist, wobei deutlich wird, wie qualvoll es für Paul ist, als einziger übrig geblieben zu sein. 'We each owe a death, there are no exceptions, I know that, but sometimes, oh God, the Green Mile is oh so long.'
:*In Coffeys Hinrichtungsszene wird auch geschildert, wie sich Dean nur wenig später in den C Block versetzen ließ, wo er vier Monate später von einem Gefangenen mit einem Werkzeugschaft erstochen wird. Paul Edgecomb kommentiert dies in Verbindung mit einem Gedanken an 'Old Sparky' folgendermaßen: 'Fragile as blown glass, we are, even under the best of conditions. To kill each other with gas and electricity, and in cold blood? The folly. The ''horror'' ' Wie ich finde, sind dies mit die stärksten Zeilen des Buches!
:*Eher eine nebensächliche Änderung im Vergleich von Film und Buch: Im Film fragt Paul Coffey, wie er sich vor Gott rechtfertigen soll. Im Buch stellt Brutus Howell Paul diese Frage, nachdem sie die Coffeys Hinrichtung in dessen Abwesenheit geprobt haben. Insgesamt werden die Argumente im Buch mehr auf verschiedene Charaktere verteilt, während ich beim Film mittlerweile den Eindruck habe, man wollte Tom Hanks so viel wie möglich an der Todesstrafe zweifeln lassen, um so ein stärkeres argumentatives gewicht zu erzielen...

*Mein zweiter Gedanke ist da schon wesentlich differenzierter: Zunächst einmal würde ich zusätzlich zu 'The Green Mile' noch 2+ weitere Filme hinzunehmen. Bisher dachte ich da an 'Dead Man Walking' (als Klassiker) und evtl. 'The Life of David Gale'. Anhand der Filme würde ich dann die Charaktere einer genaueren Analyse unterziehen. Wer ist Opfer, wer ist Täter? Wer gut/böse? (Deckt sich nicht immer mit den Opfern und Tätern. Besonders in 'The Green Mile' gibt es interessante Gegensätze: John Coffey, als vermeintlicher Täter verurteilt, aber eigentlich ein Opfer/guter Mensch. Percy Wetmore hingegen ist neben 'Wild Bill' DER Antagonist des Films...) Welche Charaktere sind als Sympathieträger konzipiert? Für wen entwickelt der Zuschauer Antipathie? - Fragen die mit Bezug auf die verschiedenen Filme zu sehr unterschiedlichen Ergebnissen führen könnten. Die Kernfrage, die schließlich hinter den Analysen stehen könnte wäre folgende: Inwiefern werden die Charaktere bzw. die Sympathie/Antipathie, die der Zuschauer für sie empfindet, genutzt, um pro oder contra Todesstrafe zu argumentieren?

Unzusammenhängende Gedanken:
*Das Übernatürliche in TGM: Parallelen zwischen John Coffey und Jesus; Initialen, Wunderheiler, 'Opferbereitschaft'... Darüber hinaus: untypisch für Stephen King! Wenig bis gar keine Autobiographischen Ansätze. Andererseits aber auch ein sehr typischer King: detaillierte Charaktere in einer relativ alltäglichen Situation (Paul Edgecomb wohnte 78 Hinrichtungen bei...) die erst durch die übernatürliche Komponente außergewöhnlich wird...
*Welche Rolle spielen die Bundesstaaten? DMW: Louisiana, TGM: Georgia, TLoDG: Texas...
*DMW basiert auf dem gleichnamigen Buch von Helen Prejean, TGM auf dem Buch von Stephen King... Gibt es weitere Filme zu dem Thema, die auf einer Literaturvorlage basieren?
*Wie deutlich ist die Intention/Einstellung zur Todesstrafe der Autoren/Macher zu erkennen? Inwiefern stellen die Filme diese Intention erfolgreich dar?
*Welche Rolle spielen die Jahresangaben der Filme? Beziehen sie sich auf historische/aktuelle Ereignisse? - DMW von 1995, spielt Anfang der 90er, Tat im Jahr 1988; TGM erscheint und wird 1996/99 erzählt, spielt 1932/35 (Buch unterscheidet sich vom Film...), TLoDG: 2003 erschienen, spielt wann?

----

hm, das sind Untersuchungsprojekte. Versuche von einer These oder Frage aus zu denken - um zu verhindern, daß Du über Seiten hinweg Charakteranalysen machst, aber unklar bleibt, was Du damit zeigen willst. (Ich weiß selbst, daß man Fragen und Thesen nicht immer schon zu Anfang hat - nur eben das ist auch meine Erfahrung: Es gibt Arbeiten die verlaufen für den, der sie schreibt absolut glatt: Man sagt, was man untersucht, etwa die Charaktere. Dann untersucht man die Charaktere und kriegt damit tatsächlich 70 Seiten gebacken und dann schreibt man noch, daß sich Unterschiede und Gemeinsamkeiten zeigten - und hat eine Arbeit geschrieben, von der man nicht sagen kann, warum sie irgendein Mensch lesen soll.) --[[User:Olaf Simons|Olaf Simons]] 16:04, 23 April 2008 (CEST)

Hier eine Seite mit der ich noch nicht glücklich bin: [[Literary Studies:Writing academic texts]]. --[[User:Olaf Simons|Olaf Simons]] 16:10, 23 April 2008 (CEST)

Hab mal nen bisschen weiter nachgedacht...

Die Diskussion über die Todesstrafe wird in den verschiedenen Filmen oftmals nur als Publikumsmagnet verwendet und wird daher ebenso oft nur oberflächlich oder stark (über-)emotionalisiert dargestellt. Die Filme bewegen sich zwischen Manipulation (meist für die Todesstrafengegner...) und reiner Unterhaltung. Hierauf aufbauend könnte man sich folgende Fragen stellen:
*Welche Filme wollen manipulieren, welche lediglich unterhalten?
**Manipulation: Dead Man Walking, The Life of David Gale...
**Unterhaltung: Identity...
*Ist es möglich die Filme objektiviert zu betrachten und sich der Manipulation zu entziehen?
*Welche Argumente für oder gegen die Todesstrafe werden angeführt?
*Werden diese Argumente in irgendeiner Art gewichtet, argumentativ oder filmisch unterstrichen, oder gar widerlegt?
*Finden sich ähnliche Argumente in der öffentlichen/politischen/wissenschaftlichen Debatte um das Thema?
*...
Ich bin der Meinung, dass diese Filme argumentativ weniger zu bieten haben, als sie uns weismachen wollen. Die meisten Filme scheinen erklärt gegen die Todesstrafe zu argumentieren, schaut man genauer hin, bzw. betrachtet einige Dialoge genauer, finden sich aber oftmals Argumente für die Todesstrafe.
*Beispiel Dead Man Walking: Die Eltern der ermordeten Jugendlichen vertreten zum Teil ganz klar das Auge-um-Auge-Prinzip. Sister Prejean schafft es nicht gegen diese Einstellung anzuargumentieren. Auf anderen Seite hingegen vermittelt die deutliche Gegenüberstellung der Morde und der Hinrichtung den Eindruck, als wäre Vergeltung tatsächlich einer der Kerngedanken der Todesstrafe. Und am Ende des Films erklärt lediglich der Vater eines der Opfer, dass der Tod des Mörders ihn doch nicht wie erhofft besser schlafen lässt...
*Beispiel The Green Mile: John Coffeys Hinrichtung war die letzte von insgesamt 78 Hinrichtungen denen Paul Edgecomb beigewohnt hat. Seine Zweifel an der Hinrichtung Coffeys entstehen dadurch, dass er weiß, dass dieser nicht nur unschuldig, sondern sogar 'one of God's true miracles' ist und er sich fragt, wie er dessen Tod vor Gott erklären soll. Die übrigen Hinrichtungen werden (wenig) reflektiert. Des weiteren: Zu Beginn des Films legt Harry Terwilliger Paul Edgecomb John Coffeys Akte vor, in der u.a. der Mord an den beiden Mädchen ausgeführt ist. Sein Kommentar dazu: Für das was er getan hat, verdient er nichts anderes (Sinngemäß). Zum Ende stellt sich heraus, dass Wild Bill diese Tat begangen hat. Als Percy ihn schließlich erschießt und Coffey anmerkt, dass er ein 'bad man' war, wird dies kaum kritisiert. Ein mögliches Fazit des Filmes könnte demnach sein: Es ist falsch Unschuldige hinzurichten, der Tod Schuldiger hingegen ist vertretbar... (alles noch sehr oberflächlich gedacht...)
*Beispiel Identity: Eigentlich wird in diesem Film nur eine Frage behandelt: Bestrafen wir den Körper oder den Geist? Und wie verfahren wir im Falle von schizophrenen oder psychisch anderweitig kranken Menschen, bei denen Körper und Geist nicht zwingend deckungsgleich sind? Um diese Frage zu beantworten beruft man sich lediglich auf eine Gerichtsurteil von 1986 (?), in dem es hieß, dass niemand zum Tode verurteilt werden dürfe, der nicht verstehen würde wofür er hingerichtet werden soll. Die Todesstrafe im allgemeinen wird nicht behandelt. Der Rest des Films will lediglich unterhalten.

Das Geschriebene ist noch lange nicht ausgereift, wollte es bloß festgehalten haben. Denke aber, dass die Denkrichtung mich weiterbringen könnte...

----

Der neueste und bisher ausgereifteste Ansatz:

"Deconstruction of the Genre of Anti Death Penalty Movies"

1. Setzt erst einmal ein Genre voraus, daher steht am Anfang eine Definition. Dabei sollte aber auch die Möglichkeit der Todesstrafe als Sub-Genre oder als aufgesetztes Thema nicht außer Acht gelassen werden.

2. Thesis:

Filme gegen die Todesstrafe versagen, wenn es darum geht ihre vorgesehene Interpretation zu transportieren. Sie überzeugen nicht. Es besteht stets die Möglichkeit einer gegensätzlichen Interpretation.

Die Kernfrage der Arbeit wäre nun herauszufinden warum das so ist! Dabei sehe ich derzeitig zwei Ebenen, die untersucht werden müssen.
*Argumente
:Welche Argumente werden dargestellt? Welche nicht?
:Inwiefern decken sich diese Argumente mit denen der öffentlichen Debatte?
:WIE werden diese Argumente präsentiert?
:Können diese Argumente irgendwie gewertet werden?
::Ich denke gerade primär an unsere Diskussion über die Relevanz der Schuldfrage und, dass diese scheinbar die wichtigste Rolle in den Filmen spielt...
*Charaktere
:Ich habe den Eindruck, dass in den Filmen (stereo-)tpische Charaktere handeln und für oder wider die Todesstrafe argumentieren.
:Todesstrafengegner sind meist (sehr/zu) emotional, haben erhebliche Charakterschwächen...
:Todesstrafenbefürworter dagegen sind (vermeintlich) rational, berechnend, kalt...
:Lassen sich diese typischen Charakteristika belegen?
:Wie wirken sich diese Charakteristika auf die Glaubwürdigkeit/Überzeugungsfähigkeit der entsprechenden Charaktere aus? (Glaubwürdiger Befürworter vs. unglaubwürdiger Gegner)
*weitere Ebenen, die untersucht werden könnten?

Ich frag mich momentan auch, ob es evtl. möglich wäre einen ?Methodenapparat? zu entwickeln, mit dem sich Argumente in irgendeiner Art (im Optimalfall objektiviert) gewichten lassen.
*Wird das Argument von einem Haupt- oder Nebencharakter geäußert?
*Wie glaubwürdig ist dieser Charakter?
*Opfer/Täter?
*Wird ein Gegenargument gebracht oder bleibt das Argument unangefochten im Raum stehen?
*Wenn ein Gegenargument vorgebracht wird: wie ist dieses wiederum zu gewichten?
*...

Interessanterweise bin ich mittlerweile wieder bei den Charakteren als zentralem Punkt angekommen, bloß etwas zielgerichteter...

--[[User:Bastian Martens|Bastian Martens]] 12:02, 25 June 2008 (CEST)

----

Hab mir die 'execution'-Seite sowie die YouTube-Videos mal angeguckt... da steckt wirklich ne Menge drin!
Schade, dass der Ansatz fast gar nichts mehr mit den Gedanken zu tun hat, die ich mir bisher gemacht hatte. Und was ich morgen in den 5min erzähl, weiß ich jetzt auch nicht mehr...

Mit 'The Player' als Ausgangspunkt und 'Dead Man Walking' als dessen Produkt ließe sich über die '''Möglichkeiten und Unmöglichkeiten''' eines Todesstrafenfilms nachdenken. Zu Beginn: Bestandsaufnahme - Was sagt der Player zu dem Thema? was ist bei DMW draus geworden, möglicherweise auch referenzen zu anderen Filmen (True Crime als DMW-Klon?) Schließlich: 'Execution' als Gegenpol zu den anderen Filmen...
Wenn man die Frage warum die Todesstrafenfilme vermeintlich versagen einbeziehen wollte, müsste man vermutlich über den Hollywood-Aspekt gehen... (unausgereifter Ansatz)

Zurück zu den 5min bzw. den 3 Punkten:
1. Startling question/observation:
:Ein Amerikanischer (= in Hollywood produzierter?) Film zur Todesstrafe ohne gewisse Kompenenten (Stars, Happy End...) ist machbar/verkaufbar.
2. Mögliche Sichtweisen:
*Altman fällt 1992 mit 'The Player' scheinbar genau dieses Urteil und trägt somit maßgeblich zur Definition des Genres der Todesstrafenfilme bei (diskutabel).
*Tim Robbins, Hauptdarsteller in 'The Player' bestätigt 1995 als Produzent von 'Dead Man Walking' die Erkenntnisse von Altman.
*2006 zeigt der Film 'Execution', dass es scheinbar doch anders geht: ein pseudo-dokumentarischer Film (in der Machart 'Blair Witch Project' ähnelnd) ohne Stars, ohne Happy End, ohne Hollywood Hochglanz, dafür mit einem echten Gefängnisdirektor, einem echten Gefängnispastor, einem echten Verurteilten und einer scheinbar echt wirkenden Hinrichtung. Den Kritiken auf der Homepage zu Folge sagt der Film an keinem Punkt welches der richtige Standpunkt ist, sondern lässt allein den Zuschauer entscheiden.
3. Mögliche Herangehensweisen:
kommt gleich...

:::Zur Frage des "Versagens" (unser gestriges Gespräch) - Du mußt nicht beweisen, ob sie versagen oder nicht. Viel interessanter ist die Feststellung, daß es mitsamt den Filmen einen Diskurs über ihr Versagen gibt. Der wird bei Sarat geführt, der wird in vielen Kritiken geführt - man kann die Gründe benennen, die in diesem Diskurs eine Rolle spielen und mehr eigene Beobachtungen hinzusetzen - und man kann den ganzen Diskurs hinterfragen (Du tatst das klug bereits gestern: Wir wissen gar nicht, ob der "optimale" Anti-Todesstrafen Film so viel Effekt hätte wie DMW - und DMW hatte einen immensen Effekt.) Nimm Dir maximal 10-15 Seiten für diese Vorüberlegungen.
:::In einem Thema zu E ist das ein Vorspiel. Die Macher wissen, bereits, welche Gefahren es gibt - welche Kritiken sie riskieren, wenn sie es nochmal machen - und sie machen es in einem Punkt nun wie bei Altman anfänglich angedacht, mit ganz neuen Resultaten. Die Untersuchungsfrage ist, ob sie damit besser fahren? Ob es ihnen wie von den Profis bei Altman vorhergesagt, geht? Auch interessant: wie die Debatte um das Scheitern sich dem neuen Gegenstand widmet - wird der Film von anderen besprochen (z.B. ob er verbessert werden könnte, sein Ziel verfehlt...) oder wird da nur über die Todesstrafe ja/nein diskutiert. Was mich an dem Thema reizt, ist daß weder Du noch ich wissen, was Du rauskriegen wirst. Du wirst findig sein müssen, e-mails schreiben, Material sammeln und der Arbeit eine DVD mit vielleicht der ganzen Website dazulegen, denn auch die sollte Teil des Beobachtungsfeldes sein. Mich interessiert die Resonanz - egal wie sie produziert wird, ob von hohen Zeitschriften, Student-Unions verschiedener Unis in den USA, der hauseigenen Website der Macher, ihren e-mails - all das sollte Teil des zu beobachtenden Feldes sein, es ist die Einbettung des Films - seine Vermarktung, seine Kommunikation, seine Interaktion mit der Öffentlichkeit. Kurz die Lage zu erklären, zu vermitteln, was man über den Film rauskriegt und inwiefern das interessant ist, ist bereits genug für 5 Minuten. Unser Seminar wird Dir bei der Arbeit viel Verständnis möglicher Optionen gegeben haben - mit Deiner Arbeit wirst Du auf angenehme Weise über die Sekuindärliteratur hinaus können, da Du nun ein Machwerk hast, das tut, was viele einforderten - und das damit manches der Sekundärliteratur bestätigt und anderes als Irrtum erweist - der Film läuft ganz andere Risiken, als ein Film in dem Sean Penn oder Julia Roberts hingerichtet wird. Gruß, --[[User:Olaf Simons|Olaf Simons]] 13:30, 10 July 2008 (CEST)

Kurzer Zwischenstand: Hatte die E-Mail an Steven Scaffidi am Donnerstag Nachmittag rausgeschickt und hab bis jetzt noch keine Antwort erhalten. Mal abwarten, was der Anfang der Woche bringt... --[[User:Bastian Martens|Bastian Martens]] 17:19, 13 July 2008 (CEST)

Ich hab immer noch keine Antwort von Scaffidi erhalten... Schade... --[[User:Bastian Martens|Bastian Martens]] 19:02, 15 July 2008 (CEST)

User talk:Bastian Martens

2008-07-15T16:59:41Z

Bastian Martens:

Talk:2008 MM Present US-Cinema and the Death Penalty

2008-07-15T14:20:38Z

Bastian Martens: /* Topics for seminar papers */

Talk:2008 MM Present US-Cinema and the Death Penalty

2008-07-15T14:09:52Z

Bastian Martens: /* Topics for seminar papers */

__TOC__

==Preliminary considerations==
''Films in which the accidental death of the criminal reestablishes a higher justice''
Was ist mit der Kategorie gemeint? Ich weiß grad' nichts damit anzufangen ; ) LG, [[User:Verena Engelhardt|Verena Engelhardt]] 15:19, 18 February 2008 (CET)
:Ich hätte das Seminar gerne in drei Blöcke geteilt - die letzte Einheit vielleicht 2 Situngen - und dabi zu Filmen, in denen nicht Dirty Harry die schmutzige Arbeit der Exekution übernehmen muß, sondern der Bösewicht sich gleichsam selbst eleminiert. Die Sache hat eine Grauzone zwischen dem Verbrecher, der dem Polizisten gar keine andere die Wahl mehr läßt, als ihn zu erschießen - Notwehr statt Selbstjustiz und dem Verbrecher, der sich selbst richtet, indem er sich erschießt oder gegen seinen Willen abrutscht und in den Tod stürzt. Ich habe da zweitausend Szenen im Kopf, doch fällt mir nicht ein, wo sich das besonders gut zeigt. Ich denke, wenn man darüber nachdenkt, dann findet man, daß in US-amerikanischen Filmen die himmlische Gerechtgkeit öfter die Tötung des Bösewichts erledigt als in deutschen - und das hat mit der Debatte um die Todesstrafe zu tun. Eine Kultur, die empfindet, daß so ein Verbrecher besser nicht überlebt, sieht die Todesstrafe anders... --[[User:Olaf Simons|Olaf Simons]] 15:46, 18 February 2008 (CET)
::Ah, okay. Das finde ich sehr interessant. Da gibt es ja massig Filme in denen der Böse lieber stirbt als ins Gefängnis zu gehen, oder sonstwie zu Tode kommt, bevor er vor ein Gericht gestellt wird - ich denke jetzt zB an "Stirb langsam" - fiele das auch in die Kategorie? (Bin mir nich' sicher). [[User:Verena Engelhardt|Verena Engelhardt]] 15:57, 18 February 2008 (CET)
:::... also, 'Stirb langsam' zB besteht aus folgenden [http://german.imdb.com/title/tt0095016/keywords Plot Keywords] vielleicht ist da was mit dabei...
::::Es gibt sogar ein keyword, das heißt [http://german.imdb.com/keyword/die-hard-scenario/?sort=date Die Hard Scenario]... tse, [[User:Verena Engelhardt|Verena Engelhardt]] 16:36, 18 February 2008 (CET)
:::::''Die Hard'' ist mir an einer Stelle unangenehm im Vergleich, da hier ein Einzelner mit einer ganzen Terrorgruppe abrechnen muß - und sich als nicht totzukriegen erweist. Es geht mir jedoch nicht um Bruce Willis als Katze mit sieben Leben... ansonsten hatte ich an die Serie bereits gedacht. --[[User:Olaf Simons|Olaf Simons]] 16:51, 18 February 2008 (CET)
An welche Filme hast Du denn gedacht? Ich selbst habe einige Filme im Kopf, in denen am Ende der Böse getötet wird oder sich selbst tötet, mit der Variante Held überlebt oder Held stirbt ebenfalls, aber die haben nicht unbedingt mit der Todesstrafe zu tun. Zu welchen Filmen gehören Deine Szenen? Dann könnte ich das für mich selbst mehr eingrenzen... [[User:Verena Engelhardt|Verena Engelhardt]] 22:45, 18 February 2008 (CET)
:Gut sind Filme, die im Genre den Selbstjustiz-Filmen nahekommen - bei denen man sehen kann: hier ist vor allem eins geschehen - der Autor hat es dem Opfer oder Polizisten erspart, sich die Hände schmutzig zu machen. Man kann dann klarer darüber nachdenken, welche Unterschiede es macht, wenn die Sanktion nicht über einen Menschen erfolgt, dem Schicksal oder dem Kriminellen überlassen bleibt. Ich frage mich, was das in der Emotion ändert, die beim Zuschauer bleibt, und will darum möglichst eng an den Plot rangehen, den andere Filme bereits haben. --[[User:Olaf Simons|Olaf Simons]] 10:28, 19 February 2008 (CET)
::Hast Du Filmtitel? [[User:Verena Engelhardt|Verena Engelhardt]] 10:35, 19 February 2008 (CET)
:::Habe nachgedacht. Wie stirbt eigentlich Shinzon in Star Trek X?
:::Ein (Horror-)film, den ich kenne, in dem der Bösewicht am Ende durch "höhere Gewalt" stirbt, ohne dass der Held ihn tötet, ist [http://www.imdb.com/title/tt0295254/ FeardotCom] (2002). Der Film handelt von einer Internetseite, und jeder Besucher dieser Seite stirbt nach 48 Stunden. Ein Polizist und eine Dame vom Gesundheitsamt versuchen, die Morde aufzuklären und sehen sich die Seite an. Sie finden heraus, dass der Geist des erste Opfers des Killers sozusagen "virtuell" weiterlebt und diese Seite kreiert hat, um Rache auszuüben. Am Ende wird der Killer von eben diesem "Geist" getötet.
:::Ich weiß allerdings nicht, ob dieser Film wirklich in Deine Kategorie/Block III reinpasst. Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 16:24, 21 February 2008 (CET) (übrigens ist es Anthony Hopkins, auf dessen Namen wir nicht kamen)
::::An diese Szene - Picard gegen seinen Mutantensohn hatte ich auch gedacht - da ich sie sah, und bereits über das kommende Seminar nachdachte. Der Typ wird aufgespießt, spießt sich selbst auf, da er dem Papi ans Leben will, aber irgendwi macht das Picard auch... typisch dachte ich mir. Von der Gattung paßt's nicht. Der Horrorfilm klingt witzig. Sollte ich mir wohl zulegen. --[[User:Olaf Simons|Olaf Simons]] 16:34, 21 February 2008 (CET)
Ich sehe gerade, dass "Double Jeopardy" nicht auf der Seminarliste steht - vielleicht würde er unter 16.05. passen. 'Lücken': Sie wird angeklagt und verurteilt (ich glaube wegen Totschlags, da die Leiche nicht gefunden wurde), kommt auf Bewährung (wg Gnadengesuch, guter Führung... irgendwie sowas) wieder frei und erschießt (aus Notwehr) am Ende ihren Ex-Mann und kann nicht ein zweites Mal für dieses Verbrechen angeklagt werden, weil sie bereits angeklagt und verurteilt worden ist. Und 'Identity' steht dafür doppelt... [[User:Verena Engelhardt|Verena Engelhardt]] 18:12, 8 March 2008 (CET)

:Meine Gedanken kreisen immer noch um das Thema der filmischen Darstellung, und ob die Filme (im Ggs. zu den Dokus) nicht ein verfälschtes Bild darstellen von Gesetzen, Gerichtsverhandlungen, Verbrechen, Verbrechensbekämpfung, Todesstrafe etc. und ich stelle mir die Frage, ob unser aller Blick auf das Thema durch die Filme nicht verfälscht wird.
:Was lernen wir tatsächlich über das Thema Todesstrafe? Vermischen sich unsere Eindrücke nicht mit den Szenen aus den Filmen? Unser Nachdenken wird durch die Filme verändert und beeinflusst, dabei stellen sie kein reales Bild dar - denn es sind Spielfilme, und Spielfilme haben eine andere "Aufgabe" als Dokus, auch wenn sie "auf wahren Begebenheiten" beruhen. Wenn wir am Ende des Seminars resümieren, inwie weit wird sich unser Nachdenken auf die Filme beziehen? Und es gilt, die Filme kritisch zu sehen! Wie wird das Thema filmisch umgesetzt und dargestellt, wie wird es dramatisiert oder für den Unterhaltungszweck verfremdet?
:Siehe Troja - ein Film, ein "Geschichtsepos", dessen Regisseur es sich erlaubte, geschichtliche Daten zu Gunsten des Filmes und seiner Geschichte zu ändern - und Leute nehmen den Film als Geschichtsunterricht und als "wahr" - "so also war es damals, als die schöne Helena....." Vielleicht wäre es daher auch ratsam, sich nicht nur die Filme, sondern auch die Dokumentationen anzusehen, um eben die Filme kritisch reflektieren zu können, um nicht ihren Inhalt als wahr, real, realistisch oder authentisch zu nehmen und darauf dann unser Nachdenken aufzubauen.
:Abgesehen davon halte ich das auch für zu beschränkt. [[User:Verena Engelhardt|Verena Engelhardt]] 17:40, 13 April 2008 (CEST)
Hallo,

wollte hier nur mal kurz darauf hinweisen, dass der in der Liste aufgeführte "Punisher" ein Remake von 1989 ist (das Original ist allerdings kein Stück besser). Außerdem kann man auf www.imdb.com auch Filme nach plot-keywords suchen, unter anderem nach "poetic justice". http://www.imdb.com/keyword/poetic-justice/
Allerdings befürchte ich, dass die Filmauswahl nicht dem entspricht, was wir suchen. [[User:Jochen Berkowsky|Jochen Berkowsky]] 10:55, 14 April 2008 (CEST)
:So haben wir's natürlich auch gemacht... Poetic Justice ist da ein Stichwort mit dem IMDb nicht gut umgeht... --[[User:Olaf Simons|Olaf Simons]] 11:15, 14 April 2008 (CEST)
::Wahrscheinlich, weil sie das anders definieren und damit anders auflisten. Auf der anderen Seite steht unter dem Stichwort auch "The Green Mile" - und ich überlege gerade, wo da "poetic justice" ist...[[User:Verena Engelhardt|Verena Engelhardt]] 12:18, 14 April 2008 (CEST)
Schätze, da gehts um folgende Szene:
"Paul und seine Kollegen bringen den erschöpften Strafgefangenen wieder in den Todestrakt zurück. Als Percy nach seiner Freilassung an Johns Zelle vorbeigeht, packt ihn dieser plötzlich, bläst ihm etwas in den aufgerissenen Mund und stößt ihn zurück. Percy taumelt, bleibt vor Bills Gitter stehen und feuert auf ihn, bis sein Revolver leer ist. Dann bleibt er entgeistert stehen, bis er abgeführt wird. Er endet apathisch in einer Irrenanstalt.
"Ich habe die beiden bösen Männer bestraft", sagt John." [[User:Jochen Berkowsky|Jochen Berkowsky]] 17:14, 14 April 2008 (CEST)

:Uhm - ich weiß nicht, ob die Simpsons gerechtfertigt sind. Ich fand die Episode lustig, meine mich auch zu erinnern, dass sich die beiden Priester (einer Katholisch, der andere Protestantisch) sich darum streiten, wer zu Homer darf und wer nicht. Wenn es nicht passt und Du es lieber wieder herausnehmen willst, kannst Du es löschen. [[User:Verena Engelhardt|Verena Engelhardt]] 16:40, 23 May 2008 (CEST)

==Course outline==
I have just given a provisional outline of the seminar. Your thoughts are welcome. --[[User:Olaf Simons|Olaf Simons]] 16:52, 25 February 2008 (CET)

:I thought about another great movie, where self-justice is shown: Memento. Though it is not the typical "Death Penalty" movie, it might be interesting to have a look at it. [[User:Philipp Kreutzer|Philipp Kreutzer]]

::I've tried to find "Execution" on DVD, but it's not available anywhere and there is no release date for the European market. Besides, imdb adds this trivia to the movie: ''The movie features a real death row inmate, a real death row warden and a real death row priest playing their respective parts'' - therefore, I would like to remove the movie from the list, because I doubt one could compare a movie that wants to grasp real life in that way to a movie that is totally based on a fictive story (the novel) - that doesn't work (as long as there is no genre discussion included). Maybe we could compare "The Life of David Gale" and "True Crime" as they are both fictive (as far as I know) and both deal with journalists finding the truth etc. (uhm, - and because the film is not available, as I said :-) [[User:Verena Engelhardt|Verena Engelhardt]] 19:52, 4 May 2008 (CEST)

:::Don't remove it - these are the interesting aspects for which the title deserves to be on this list. It is a controversial item - we might add. Yet I realise it will be difficult to get hold of it. (I might ask our American students), --[[User:Olaf Simons|Olaf Simons]] 08:59, 5 May 2008 (CEST)

::::Even if you find someone to purchase the film it might be too late till the 23rd of May (Btw: Are American DVDs playable on a European Computer? Because you can't play them on a European DVD Player) [[User:Verena Engelhardt|Verena Engelhardt]] 09:47, 5 May 2008 (CEST)
::::Plus, I didn't find it on amazon.com either. So the release date on imdb might refer to the release date for cinemas. On the official website you can a leave a message for getting informed when the DVD will be available in your region, country, state, continent... [[User:Verena Engelhardt|Verena Engelhardt]] 09:54, 5 May 2008 (CEST)

:::: Think it can be played on some DvD Players, mine certainly does, never had problems with DvDs from the states.Just my 2 cents. [[User:Jens|Jens]] 19:38, 8 May 2008 (CEST)

:::::As far as I heard the controversy it aroused made things more difficult. Well - let's see. --[[User:Olaf Simons|Olaf Simons]] 10:05, 5 May 2008 (CEST)

I didn't say it was less interesting. If you get it, I would say it deserves a discussion on its own rather than a comparison to "True Crime" - we could replace it with David Gale on May 30 and we talk about David Gale and True Crime - besides, you would have more time to purchase the film... [[User:Verena Engelhardt|Verena Engelhardt]] 11:21, 5 May 2008 (CEST)

:I'm so sorry! It was my fault: If you click on [http://www.imdb.com/title/tt0972554/releaseinfo release info] and the [http://www.executionfilm.com/execution_dot_com/extras.php?pid=1000 official website], you will see that the movie was shown at festivals and at Universities in the US! It's not on DVD yet. I should have checked this more carefully before putting it on the list... [[User:Verena Engelhardt|Verena Engelhardt]] 20:30, 8 May 2008 (CEST)

::Hast Du einen Alternativplan für den 30.05. wenn Du David Gale vorziehst? Und was ist mit "A Time to Kill"? Fällt der jetzt komplett raus? Ist mir aus Deiner Notiz nicht klar geworden. [[User:Verena Engelhardt|Verena Engelhardt]] 11:36, 14 May 2008 (CEST)

Concerning the question whether a genre of Death Penalty Movies really exists:

I've been searching the web for information on films dealing with the topic hoping to find some films which were published BEFORE 'The Player'. This is what I found:

*[http://www.imdb.com/title/tt0007170/ The People vs. John Doe (1916)]
*[http://www.imdb.com/title/tt0009800/ Who shall take my life? (1917)]

*[http://www.imdb.com/title/tt0023524/ Strange justice (1932)]
*[http://www.imdb.com/title/tt0024561/ The sin of Nora Moran (1933)]
*[http://www.imdb.com/title/tt0027335/ Bars of Hate (1935)]
*[http://www.imdb.com/title/tt0027253/ The Accusing Finger (1936)]
*[http://www.imdb.com/title/tt0029658/ They won’t forget (1937)]
*[http://www.imdb.com/title/tt0030303/ Juvenile court (1938)]
*[http://www.imdb.com/title/tt0031126/ Buried Alive (1939)]

*[http://www.imdb.com/title/tt0032245/ Before I hang (1940)]
*[http://www.imdb.com/title/tt0032428/ East Side Kids (1940)]
*[http://www.imdb.com/title/tt0035582/ You can’t escape forever (1942)]
*[http://www.imdb.com/title/tt0037001/ Lady in the Death House (1944)]
*[http://www.imdb.com/title/tt0038722/ The man who dared (1946)]
*[http://www.imdb.com/title/tt0040460/ I wouldn’t be in your Shoes (1948)]

*[http://www.imdb.com/title/tt0044088/ The sun sets at dawn (1950)]
*[http://www.imdb.com/title/tt0049006/ Beyond a reasonable doubt (1956)]: A remake of this film will be published in 2009!
*[http://www.imdb.com/title/tt0049856/ Time without pity (UK, 1957)]
*[http://www.imdb.com/title/tt0051758/ I want to live! (1958)]
*[http://www.imdb.com/title/tt0052700/ Compulsion (1959)]

*[http://www.imdb.com/title/tt0263189/ The Chair (1963)]: Documentary
*[http://www.imdb.com/title/tt0061809/ In cold blood (1967)]

*[http://www.imdb.com/title/tt0066730/ 10 Rillington Place (UK, 1971)]
*[http://www.imdb.com/title/tt0069384/ To encourage the others (UK, 1972)]
*[http://www.imdb.com/title/tt0070782/ Terminal Island (1973)] (pro death penalty?)
*[http://www.imdb.com/title/tt0076262/ Kill me if you can (1977)]
*[http://www.imdb.com/title/tt0079668/ The onion field (1979)]: based on 1973 non-fiction book, written by LAPD Officer Joseph Wambaugh.

*[http://www.imdb.com/title/tt0083909/ The Executioner's Song (1982)] (pro death penalty?)
*[http://www.imdb.com/title/tt0086356/ The Star Chamber (1983)]: there probably will also be a remake in 2009.
*[http://www.imdb.com/title/tt0084867/ Vigilante (1983)] (pro death penalty?)
*[http://www.imdb.com/title/tt0085398/ Daniel (1983)]
*[http://www.imdb.com/title/tt0089111/ The execution of Raymond Graham (1985)]: TV production
*[http://www.imdb.com/title/tt0092858/ Death of a Soldier (1986)]: DP as political instrument
*[http://www.imdb.com/title/tt0096257/ The thin blue line (1988)]
*[http://www.imdb.com/title/tt0095958/ Rampage (1988)] (pro death penalty?)

*[http://www.imdb.com/title/tt0100797/ Too young to die? (1990)]: TV production
*[http://www.imdb.com/title/tt0102984/ Stone Cold (1991)]
*[http://www.imdb.com/title/tt0105151/ The Player (1992)]
*[http://www.imdb.com/title/tt0104952/ My cousin Vinny (1992)]
*[http://www.imdb.com/title/tt0104744/ Live! From Death Row (1992)]: TV production
*[http://www.imdb.com/title/tt0104502/ In the shadow of a killer (1992)]: TV production
*[http://www.imdb.com/title/tt0106398/ Better off dead (1993)]: TV production
*[http://www.imdb.com/title/tt0106977/ The Fugitive (1993)]: based on a 1963 TV series.
*[http://www.imdb.com/title/tt0112818/ Dead Man Walking (1995)]
*[http://www.imdb.com/title/tt0116827/ Last Dance (1996)]
*[http://www.imdb.com/title/tt0117913/ A Time to kill (1996)]
*[http://www.imdb.com/title/tt0115862/ The chamber (1996)]: based on a novel by John Grisham
*[http://www.imdb.com/title/tt0119728/ Mumia Abu-Jamal: A case for reasonable doubt? (1997)]: documentary
*[http://www.imdb.com/title/tt0154467/ Evidence of blood (1998)]: TV production
*[http://www.imdb.com/title/tt0120901/ Wrongfully accused (1998)]
*[http://www.imdb.com/title/tt0164082/ Last Rites (1998)]: TV production
*[http://www.imdb.com/title/tt0179940/ A lesson before dying (1999)]: TV production
*[http://www.imdb.com/title/tt0139668/ True Crime (1999)]

*[http://www.imdb.com/title/tt0233535/ Deadlocked (2000)]: TV production
*[http://www.imdb.com/title/tt0294514/ Deathrow (2000)]
*[http://www.imdb.com/title/tt0297918/ God and the Death Penalty (2000)]: documentary
*[http://www.imdb.com/title/tt0285742/ Monster's Ball (2001)]
*[http://www.imdb.com/title/tt0827211/ Thanatos Rx: The Death Penalty Debate in America (2001)]: Documentary
*[http://www.imdb.com/title/tt0294918/ Shot in the heart (2001)]: TV production
*[http://www.imdb.com/title/tt0303282/ The execution of Wanda Jean (2002)]
*[http://www.imdb.com/title/tt0309698/ Identity (2003)]
*[http://www.imdb.com/title/tt0289992/ The Life of David Gale (2003)]
*[http://www.imdb.com/title/tt0340855/ Monster (2003)] (pro death penalty?)
*[http://www.imdb.com/title/tt0388367/ Redemption: The Stan Tookie Williams Story (2004)]
*[http://www.imdb.com/title/tt0374584/ Control (2004)]
*[http://www.imdb.com/title/tt0398326/ Shock act (2004)]
*[http://www.imdb.com/title/tt0435181/ Manners of dying (2004)]
*[http://www.imdb.com/title/tt0396190/ Return to sender (2004)]
*[http://www.imdb.com/title/tt0493347/ Fighting for life in the death-belt (2005)]: documentary
*[http://www.imdb.com/title/tt0379725/ Capote (2005)]: tells the story how Truman Capote came to write "In cold blood" (1967)
*[http://www.imdb.com/title/tt0889677/ Willie Francis must die again (2006)]
*[http://www.imdb.com/title/tt0420609/ Infamous (2006)]: another film about Truman Capote and the production of "In cold blood"
*[http://www.imdb.com/title/tt0383478/ Love comes to the Executioner (2006)]
*[http://www.imdb.com/title/tt0411061/ 88 minutes (2007)]
*[http://www.imdb.com/title/tt0972554/ Execution (2007)]
*[http://www.imdb.com/title/tt1227785/ The life penalty (2008)]

*[http://www.imdb.com/title/tt0079761/ Le Pull-over Rouge (France, 1979)]: A French film about a true story which interestingly played an important part in the abolition of the Death Penalty in France in 1981!
*[http://www.imdb.com/title/tt0102288/ Let him have it (UK, 1991)]
*[http://www.imdb.com/title/tt0107381/ Legal Memory (Canada, 1992)]
*[http://www.imdb.com/title/tt0150490/ Executions (UK, 1995)]: documentary
*[http://www.imdb.com/title/tt0168629/ Dancer in the Dark (Europe, 2000)]
*[http://www.imdb.com/title/tt0312756/ Henker – Der Tod hat ein Gesicht (D, 2002)]

I've spent some time on IMDB to update the list and, as you can see, it's become quite long, must be some eighty films now if I'm not mistaken. I went through the 125 results of "capital punishment" and through the 75 results of "death penalty". However, I stopped searching when the search engine offered 571 results for "execution"... In my opinion, the question of a genre of death penalty movies is answered. However, one could think about a concise definition or even sub-categories... --[[User:Bastian Martens|Bastian Martens]] 19:09, 19 June 2008 (CEST)

see also:
*[http://faculty.law.lsu.edu/ccorcos/lawhum/CAPITALPUNISHMENT.htm Death Penalty in Popular Culture]
*[http://library.thinkquest.org/23685/data/filming.html Death Penalty - A Filmography]: a somewhat outdated page - it ends with Dead Man Walking - but still interesting for it offers some films before that, also quite a few European films, which I did not include in this list.

:Thanks for the list and links! Some of them look like the films one has in ones mind - black and white films of the 1950s - fascinating... --[[User:Olaf Simons|Olaf Simons]] 20:59, 5 June 2008 (CEST)

::I find the genre idea somehow intriguing, so I continued browsing through IMDB and still found more films, some old ones, quite a few TV productions... I think I'll update the list next week. One thing I can say in advance: it's the same story again and again: someone is on death row for a crime he or she didn't commit and someone else is trying to prove his or her innocence only a few days or hours before the execution... --[[User:Bastian Martens|Bastian Martens]] 11:59, 6 June 2008 (CEST)

==Topics for seminar papers==
Open sections and discuss your ideas.

* The discussion on the (possible) genre.

There may be two sections (just short notes)

1) Is there a genre called "Death Penalty" or a concept similar to a genre?

*When does a genre begin? (short history of genre (Studio-Ära))
*What constitutes a genre? (Wiederholung von Handlungsmotiven, wiederkehrende Bildmuster, standardisierte Erzählbausteine und voraussehbares Rezeptionsmuster)
*Filmgenre vs. Genrefilm
*Genre Theory
*Genresynkretismus

I would like to take a look at other genres (but focus on one) and their development, since genres like "horror" and "action" did not exist since the very beginning of cinema. The best known genres have (cinematic, structural, narrative…) elements that are characteristic of them and that constitute them. If there are similar elements in films on the Death Penalty, I assume there might be a genre (or concept, the way these films are 'contrived', 'designed', 'fabricated' etc.).

2) What if there is a genre called Death Penalty?

*Genres have rules to which filmmakers are bound
*Simplification of production since genres constist of examples/models/patterns/conventions
*Communication within a group or between several groups (e.g. producers-directors)
*Commerce, box-office results (?)
*Genre-oriented audience and its expectations
*Genre critics

-> If there is a genre, and if genres are bound to rules and models in order to be as much commercially successful as possible, is it possible that a movie (which is bound to these rules, but which deal with such a delicate topic) still claims to be serious, critical, demanding, artistic, qualitative etc.? (I would say no)

* Altman, Rick. ''Film und Genre''. In: Geschichte des Internationalen Films. Geoffrey Nowell-Smith [Hrsg.]. Stuttgart: J.B. Metzler, 2006. p. 253-259.

::Well, I cannot give you an answer (your work would be pointless if I could). Yet we spoke about different aspects marking some of our films:
::*Central protagonist A is on death row, his/her time is running out.
::*Central protagonist B is trying to save him/her (B's emotions create sympathies for A)
::*The story is told with flashbacks (designed to balance the execution?)
::*The execution is performed in one of the final chapters of the film
::*The film is open for debates. Media resonance, public statements, voices of the victim's parents etc. are introduced to fuel the discussion.

::The question might still be: is that a genre? - or just a plot exploited by some films? When does a genre begin? The far more difficult question is: Why ask this question? A possible answer could be: your analysis is different as soon as you see a film as marked by genre conventions. So actually you decide - in order to make certain things visible... Hey, this is your work, not mine! --[[User:Olaf Simons|Olaf Simons]] 15:34, 21 June 2008 (CEST)

:::I just wanted to have a feedback on what I would like to do : ) so, thank you for yours.
:::The questions you mentioned are the ones I want to ask in the paper... so, thank you again :p [[User:Verena Engelhardt|Verena Engelhardt]] 16:09, 21 June 2008 (CEST)

:Hello to all of you who're going to write a seminar paper. As couldn't talk about our ideas for our papers in the last session of the seminar, I'd propose that we meet in the library and exchange our ideas there and then. What about wednesday at 13h in front of the library?
:See you! --[[User:Bastian Martens|Bastian Martens]] 17:15, 13 July 2008 (CEST)

Könnten wir uns vielleicht auch in der Woche danach (ab dem 20.7) (noch)mal treffen? Ich würde nämlich auch ein paar Tipps von euch hören, bin aber erst am 21 wieder in Oldenburg. LG

:Da sich sonst noch niemand gemeldet hat ist das kein Problem... Schlag nen neuen Termin vor... --[[User:Bastian Martens|Bastian Martens]] 16:09, 15 July 2008 (CEST)

User talk:Bastian Martens

2008-07-13T15:19:38Z

Bastian Martens:

Moin Bastian,

Du sagst, wenn Ihr Infos braucht? Gruß, --[[User:Olaf Simons|Olaf Simons]] 10:06, 21 April 2008 (CEST)

----

'''Grundgedanken zur Examensarbeit:'''

*Mein erster Gedanke war ein Vergleich des Filmes 'The Green Mile' mit der Buchvorlage von Stephen King. Das wäre zwar an sich sehr interessant, aber mittlerweile vermute ich, dass es extrem schwierig wäre, hierfür eine Fragestellung zu entwickeln, die sich auf 80-100 Seiten ausführen ließe.
*Mein zweiter Gedanke ist da schon wesentlich differenzierter: Zunächst einmal würde ich zusätzlich zu 'The Green Mile' noch 2+ weitere Filme hinzunehmen. Bisher dachte ich da an 'Dead Man Walking' (als Klassiker) und evtl. 'The Life of David Gale'. Anhand der Filme würde ich dann die Charaktere einer genaueren Analyse unterziehen. Wer ist Opfer, wer ist Täter? Wer gut/böse? (Deckt sich nicht immer mit den Opfern und Tätern. Besonders in 'The Green Mile' gibt es interessante Gegensätze: John Coffey, als vermeintlicher Täter verurteilt, aber eigentlich ein Opfer/guter Mensch. Percy Wetmore hingegen ist neben 'Wild Bill' DER Antagonist des Films...) Welche Charaktere sind als Sympathieträger konzipiert? Für wen entwickelt der Zuschauer Antipathie? - Fragen die mit Bezug auf die verschiedenen Filme zu sehr unterschiedlichen Ergebnissen führen könnten. Die Kernfrage, die schließlich hinter den Analysen stehen könnte wäre folgende: Inwiefern werden die Charaktere bzw. die Sympathie/Antipathie, die der Zuschauer für sie empfindet, genutzt, um pro oder contra Todesstrafe zu argumentieren?

Unzusammenhängende Gedanken:
*Das Übernatürliche in TGM: Parallelen zwischen John Coffey und Jesus; Initialen, Wunderheiler, 'Opferbereitschaft'... Darüber hinaus: untypisch für Stephen King! Wenig bis gar keine Autobiographischen Ansätze. Andererseits aber auch ein sehr typischer King: detaillierte Charaktere in einer relativ alltäglichen Situation (Paul Edgecomb wohnte 78 Hinrichtungen bei...) die erst durch die übernatürliche Komponente außergewöhnlich wird...
*Welche Rolle spielen die Bundesstaaten? DMW: Louisiana, TGM: Georgia, TLoDG: Texas...
*DMW basiert auf dem gleichnamigen Buch von Helen Prejean, TGM auf dem Buch von Stephen King... Gibt es weitere Filme zu dem Thema, die auf einer Literaturvorlage basieren?
*Wie deutlich ist die Intention/Einstellung zur Todesstrafe der Autoren/Macher zu erkennen? Inwiefern stellen die Filme diese Intention erfolgreich dar?
*Welche Rolle spielen die Jahresangaben der Filme? Beziehen sie sich auf historische/aktuelle Ereignisse? - DMW von 1995, spielt Anfang der 90er, Tat im Jahr 1988; TGM erscheint und wird 1996/99 erzählt, spielt 1932/35 (Buch unterscheidet sich vom Film...), TLoDG: 2003 erschienen, spielt wann?

----

hm, das sind Untersuchungsprojekte. Versuche von einer These oder Frage aus zu denken - um zu verhindern, daß Du über Seiten hinweg Charakteranalysen machst, aber unklar bleibt, was Du damit zeigen willst. (Ich weiß selbst, daß man Fragen und Thesen nicht immer schon zu Anfang hat - nur eben das ist auch meine Erfahrung: Es gibt Arbeiten die verlaufen für den, der sie schreibt absolut glatt: Man sagt, was man untersucht, etwa die Charaktere. Dann untersucht man die Charaktere und kriegt damit tatsächlich 70 Seiten gebacken und dann schreibt man noch, daß sich Unterschiede und Gemeinsamkeiten zeigten - und hat eine Arbeit geschrieben, von der man nicht sagen kann, warum sie irgendein Mensch lesen soll.) --[[User:Olaf Simons|Olaf Simons]] 16:04, 23 April 2008 (CEST)

Hier eine Seite mit der ich noch nicht glücklich bin: [[Literary Studies:Writing academic texts]]. --[[User:Olaf Simons|Olaf Simons]] 16:10, 23 April 2008 (CEST)

Hab mal nen bisschen weiter nachgedacht...

Die Diskussion über die Todesstrafe wird in den verschiedenen Filmen oftmals nur als Publikumsmagnet verwendet und wird daher ebenso oft nur oberflächlich oder stark (über-)emotionalisiert dargestellt. Die Filme bewegen sich zwischen Manipulation (meist für die Todesstrafengegner...) und reiner Unterhaltung. Hierauf aufbauend könnte man sich folgende Fragen stellen:
*Welche Filme wollen manipulieren, welche lediglich unterhalten?
**Manipulation: Dead Man Walking, The Life of David Gale...
**Unterhaltung: Identity...
*Ist es möglich die Filme objektiviert zu betrachten und sich der Manipulation zu entziehen?
*Welche Argumente für oder gegen die Todesstrafe werden angeführt?
*Werden diese Argumente in irgendeiner Art gewichtet, argumentativ oder filmisch unterstrichen, oder gar widerlegt?
*Finden sich ähnliche Argumente in der öffentlichen/politischen/wissenschaftlichen Debatte um das Thema?
*...
Ich bin der Meinung, dass diese Filme argumentativ weniger zu bieten haben, als sie uns weismachen wollen. Die meisten Filme scheinen erklärt gegen die Todesstrafe zu argumentieren, schaut man genauer hin, bzw. betrachtet einige Dialoge genauer, finden sich aber oftmals Argumente für die Todesstrafe.
*Beispiel Dead Man Walking: Die Eltern der ermordeten Jugendlichen vertreten zum Teil ganz klar das Auge-um-Auge-Prinzip. Sister Prejean schafft es nicht gegen diese Einstellung anzuargumentieren. Auf anderen Seite hingegen vermittelt die deutliche Gegenüberstellung der Morde und der Hinrichtung den Eindruck, als wäre Vergeltung tatsächlich einer der Kerngedanken der Todesstrafe. Und am Ende des Films erklärt lediglich der Vater eines der Opfer, dass der Tod des Mörders ihn doch nicht wie erhofft besser schlafen lässt...
*Beispiel The Green Mile: John Coffeys Hinrichtung war die letzte von insgesamt 78 Hinrichtungen denen Paul Edgecomb beigewohnt hat. Seine Zweifel an der Hinrichtung Coffeys entstehen dadurch, dass er weiß, dass dieser nicht nur unschuldig, sondern sogar 'one of God's true miracles' ist und er sich fragt, wie er dessen Tod vor Gott erklären soll. Die übrigen Hinrichtungen werden (wenig) reflektiert. Des weiteren: Zu Beginn des Films legt Harry Terwilliger Paul Edgecomb John Coffeys Akte vor, in der u.a. der Mord an den beiden Mädchen ausgeführt ist. Sein Kommentar dazu: Für das was er getan hat, verdient er nichts anderes (Sinngemäß). Zum Ende stellt sich heraus, dass Wild Bill diese Tat begangen hat. Als Percy ihn schließlich erschießt und Coffey anmerkt, dass er ein 'bad man' war, wird dies kaum kritisiert. Ein mögliches Fazit des Filmes könnte demnach sein: Es ist falsch Unschuldige hinzurichten, der Tod Schuldiger hingegen ist vertretbar... (alles noch sehr oberflächlich gedacht...)
*Beispiel Identity: Eigentlich wird in diesem Film nur eine Frage behandelt: Bestrafen wir den Körper oder den Geist? Und wie verfahren wir im Falle von schizophrenen oder psychisch anderweitig kranken Menschen, bei denen Körper und Geist nicht zwingend deckungsgleich sind? Um diese Frage zu beantworten beruft man sich lediglich auf eine Gerichtsurteil von 1986 (?), in dem es hieß, dass niemand zum Tode verurteilt werden dürfe, der nicht verstehen würde wofür er hingerichtet werden soll. Die Todesstrafe im allgemeinen wird nicht behandelt. Der Rest des Films will lediglich unterhalten.

Das Geschriebene ist noch lange nicht ausgereift, wollte es bloß festgehalten haben. Denke aber, dass die Denkrichtung mich weiterbringen könnte...

----

Der neueste und bisher ausgereifteste Ansatz:

"Deconstruction of the Genre of Anti Death Penalty Movies"

1. Setzt erst einmal ein Genre voraus, daher steht am Anfang eine Definition. Dabei sollte aber auch die Möglichkeit der Todesstrafe als Sub-Genre oder als aufgesetztes Thema nicht außer Acht gelassen werden.

2. Thesis:

Filme gegen die Todesstrafe versagen, wenn es darum geht ihre vorgesehene Interpretation zu transportieren. Sie überzeugen nicht. Es besteht stets die Möglichkeit einer gegensätzlichen Interpretation.

Die Kernfrage der Arbeit wäre nun herauszufinden warum das so ist! Dabei sehe ich derzeitig zwei Ebenen, die untersucht werden müssen.
*Argumente
:Welche Argumente werden dargestellt? Welche nicht?
:Inwiefern decken sich diese Argumente mit denen der öffentlichen Debatte?
:WIE werden diese Argumente präsentiert?
:Können diese Argumente irgendwie gewertet werden?
::Ich denke gerade primär an unsere Diskussion über die Relevanz der Schuldfrage und, dass diese scheinbar die wichtigste Rolle in den Filmen spielt...
*Charaktere
:Ich habe den Eindruck, dass in den Filmen (stereo-)tpische Charaktere handeln und für oder wider die Todesstrafe argumentieren.
:Todesstrafengegner sind meist (sehr/zu) emotional, haben erhebliche Charakterschwächen...
:Todesstrafenbefürworter dagegen sind (vermeintlich) rational, berechnend, kalt...
:Lassen sich diese typischen Charakteristika belegen?
:Wie wirken sich diese Charakteristika auf die Glaubwürdigkeit/Überzeugungsfähigkeit der entsprechenden Charaktere aus? (Glaubwürdiger Befürworter vs. unglaubwürdiger Gegner)
*weitere Ebenen, die untersucht werden könnten?

Ich frag mich momentan auch, ob es evtl. möglich wäre einen ?Methodenapparat? zu entwickeln, mit dem sich Argumente in irgendeiner Art (im Optimalfall objektiviert) gewichten lassen.
*Wird das Argument von einem Haupt- oder Nebencharakter geäußert?
*Wie glaubwürdig ist dieser Charakter?
*Opfer/Täter?
*Wird ein Gegenargument gebracht oder bleibt das Argument unangefochten im Raum stehen?
*Wenn ein Gegenargument vorgebracht wird: wie ist dieses wiederum zu gewichten?
*...

Interessanterweise bin ich mittlerweile wieder bei den Charakteren als zentralem Punkt angekommen, bloß etwas zielgerichteter...

--[[User:Bastian Martens|Bastian Martens]] 12:02, 25 June 2008 (CEST)

----

Hab mir die 'execution'-Seite sowie die YouTube-Videos mal angeguckt... da steckt wirklich ne Menge drin!
Schade, dass der Ansatz fast gar nichts mehr mit den Gedanken zu tun hat, die ich mir bisher gemacht hatte. Und was ich morgen in den 5min erzähl, weiß ich jetzt auch nicht mehr...

Mit 'The Player' als Ausgangspunkt und 'Dead Man Walking' als dessen Produkt ließe sich über die '''Möglichkeiten und Unmöglichkeiten''' eines Todesstrafenfilms nachdenken. Zu Beginn: Bestandsaufnahme - Was sagt der Player zu dem Thema? was ist bei DMW draus geworden, möglicherweise auch referenzen zu anderen Filmen (True Crime als DMW-Klon?) Schließlich: 'Execution' als Gegenpol zu den anderen Filmen...
Wenn man die Frage warum die Todesstrafenfilme vermeintlich versagen einbeziehen wollte, müsste man vermutlich über den Hollywood-Aspekt gehen... (unausgereifter Ansatz)

Zurück zu den 5min bzw. den 3 Punkten:
1. Startling question/observation:
:Ein Amerikanischer (= in Hollywood produzierter?) Film zur Todesstrafe ohne gewisse Kompenenten (Stars, Happy End...) ist machbar/verkaufbar.
2. Mögliche Sichtweisen:
*Altman fällt 1992 mit 'The Player' scheinbar genau dieses Urteil und trägt somit maßgeblich zur Definition des Genres der Todesstrafenfilme bei (diskutabel).
*Tim Robbins, Hauptdarsteller in 'The Player' bestätigt 1995 als Produzent von 'Dead Man Walking' die Erkenntnisse von Altman.
*2006 zeigt der Film 'Execution', dass es scheinbar doch anders geht: ein pseudo-dokumentarischer Film (in der Machart 'Blair Witch Project' ähnelnd) ohne Stars, ohne Happy End, ohne Hollywood Hochglanz, dafür mit einem echten Gefängnisdirektor, einem echten Gefängnispastor, einem echten Verurteilten und einer scheinbar echt wirkenden Hinrichtung. Den Kritiken auf der Homepage zu Folge sagt der Film an keinem Punkt welches der richtige Standpunkt ist, sondern lässt allein den Zuschauer entscheiden.
3. Mögliche Herangehensweisen:
kommt gleich...

:::Zur Frage des "Versagens" (unser gestriges Gespräch) - Du mußt nicht beweisen, ob sie versagen oder nicht. Viel interessanter ist die Feststellung, daß es mitsamt den Filmen einen Diskurs über ihr Versagen gibt. Der wird bei Sarat geführt, der wird in vielen Kritiken geführt - man kann die Gründe benennen, die in diesem Diskurs eine Rolle spielen und mehr eigene Beobachtungen hinzusetzen - und man kann den ganzen Diskurs hinterfragen (Du tatst das klug bereits gestern: Wir wissen gar nicht, ob der "optimale" Anti-Todesstrafen Film so viel Effekt hätte wie DMW - und DMW hatte einen immensen Effekt.) Nimm Dir maximal 10-15 Seiten für diese Vorüberlegungen.
:::In einem Thema zu E ist das ein Vorspiel. Die Macher wissen, bereits, welche Gefahren es gibt - welche Kritiken sie riskieren, wenn sie es nochmal machen - und sie machen es in einem Punkt nun wie bei Altman anfänglich angedacht, mit ganz neuen Resultaten. Die Untersuchungsfrage ist, ob sie damit besser fahren? Ob es ihnen wie von den Profis bei Altman vorhergesagt, geht? Auch interessant: wie die Debatte um das Scheitern sich dem neuen Gegenstand widmet - wird der Film von anderen besprochen (z.B. ob er verbessert werden könnte, sein Ziel verfehlt...) oder wird da nur über die Todesstrafe ja/nein diskutiert. Was mich an dem Thema reizt, ist daß weder Du noch ich wissen, was Du rauskriegen wirst. Du wirst findig sein müssen, e-mails schreiben, Material sammeln und der Arbeit eine DVD mit vielleicht der ganzen Website dazulegen, denn auch die sollte Teil des Beobachtungsfeldes sein. Mich interessiert die Resonanz - egal wie sie produziert wird, ob von hohen Zeitschriften, Student-Unions verschiedener Unis in den USA, der hauseigenen Website der Macher, ihren e-mails - all das sollte Teil des zu beobachtenden Feldes sein, es ist die Einbettung des Films - seine Vermarktung, seine Kommunikation, seine Interaktion mit der Öffentlichkeit. Kurz die Lage zu erklären, zu vermitteln, was man über den Film rauskriegt und inwiefern das interessant ist, ist bereits genug für 5 Minuten. Unser Seminar wird Dir bei der Arbeit viel Verständnis möglicher Optionen gegeben haben - mit Deiner Arbeit wirst Du auf angenehme Weise über die Sekuindärliteratur hinaus können, da Du nun ein Machwerk hast, das tut, was viele einforderten - und das damit manches der Sekundärliteratur bestätigt und anderes als Irrtum erweist - der Film läuft ganz andere Risiken, als ein Film in dem Sean Penn oder Julia Roberts hingerichtet wird. Gruß, --[[User:Olaf Simons|Olaf Simons]] 13:30, 10 July 2008 (CEST)

Kurzer Zwischenstand: Hatte die E-Mail an Steven Scaffidi am Donnerstag Nachmittag rausgeschickt und hab bis jetzt noch keine Antwort erhalten. Mal abwarten, was der Anfang der Woche bringt... --[[User:Bastian Martens|Bastian Martens]] 17:19, 13 July 2008 (CEST)

Talk:2008 MM Present US-Cinema and the Death Penalty

2008-07-13T15:15:09Z

Bastian Martens: /* Topics for seminar papers */

User talk:Bastian Martens

2008-07-10T09:43:46Z

Bastian Martens:

2008 MM Present US-Cinema and the Death Penalty

2008-06-27T08:43:53Z

Bastian Martens: /* June 27: 27.06. Taking the Law Into One's Own Hands, II */

{|align=right width=350px style="margin-left:40px;margin-bottom:30px" cellpadding="20"
|bgcolor=#F4FED8|

'''Thursady, June 26, 21.30, my place, Tannenkampstr. 12'''

* [http://en.wikipedia.org/wiki/The_Brave_One_%282007_film%29 ''The Brave One''] (2007)

(you supply drink, I'll supply food), --[[User:Olaf Simons|Olaf Simons]] 16:20, 30 May 2008 (CEST)

----

One more thing: I opened a second Handapparat for books with basic titles of film analysis - the collection is not yet complete as I had to order a number of these titles for acquisition. (You may also visit the Landesbibliothek for books on capital punishment).
|}
* Fr 14 - 16
* A10 1-121a
* [[User:Olaf Simons|Olaf Simons]]
*[[Mastermodul]] Klausurvorbereitend: American Studies

The implementation of the death penalty is one of the major cultural differences between the US and Europe today. A number of movies have over the past two decades dealt with, if not effectively fuelled, the public controversy about capital punishment. The seminar will analyse and discuss some of these films against the background of the present debate and in a comparison with movies in which vigilante or self-administered justice and poetic justice create a form of capital punishment - more or less provocatively - beyond the reach of the public debate.

==April 11: Introduction==
Discussion of the seminar plan and modes of participation.

==April 18: Emotional imbalances: ''Dead Man Walking'' (1995)==
* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995)
Plot line, emotional balance, sympathies and how they are created, political messages.

==April 25: The reception of ''Dead Man Walking'' (1995)==
'''Wednesday, 23, 2008, 20:45''' my place, Tannenkampstr. 12: Krzysztof Kieslowski, Ein kurzer Film über das Töten (Poland 1988) [http://de.wikipedia.org/wiki/Ein_kurzer_Film_%C3%BCber_das_T%C3%B6ten German wikipedia]

'''Course preparation'''

''Dead Man Walking'' (1995) as an influential film - debates it managed to raise, debates which just joined the ongoing debate. We need a presentation on the reception history of the film (worth an ensuing seminar paper).

We will have three short presentations on the death penalty focussing on its more ore less "humane" modalities
*Antje + Marie Katrin: A historical perspective. Background: Michel Foucault ''Discipline and Punish'' (1975). See [http://en.wikipedia.org/wiki/Discipline_and_Punish wikipedia] on the subject and read the first pages of the book which should be available in the library (you may refer to the German translation ''Überwachen und Strafen''). Another good book on the subject is Cesare Beccaria's (1738-1794) ''Of Crimes and Punishments'', available on the web in English: [http://www.constitution.org/cb/crim_pun.htm ''Of Crimes and Punishments'' (1764)].
*Philipp promised to take a look at the present US-debate - a good starting point is again [http://en.wikipedia.org/wiki/Capital_punishment_in_the_United_States wikipedia] where you will find a chapter on methods used in the US.
*Jochen: will take a look at the general debate of humane executions. A good starting point are the links you get if you google Michael Portillo on the subject [http://www.google.com/search?num=100&hl=en&newwindow=1&safe=off&q=%22Michael+Portillo%22+%22humane+execution%22&btnG=Search]

All others are requested to take a look at the reception of the film and to feed their information into this page: [[Tim Robbins (dir.), Dead Man Walking (1995 film)|Dead Man Walking (USA 1995)]]. Give your link and a summary of your result. We should get an idea of the debate the film was able to produce to then compare this debate with the debate we had in class.

==May 2: Truth and fiction==
* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995)
* [http://en.wikipedia.org/wiki/Redemption:_The_Stan_Tookie_Williams_Story ''Redemption: The Stan Tookie Williams Story''] (2004)
Both films dealt with actual cases. Was this link to reality important? How was it used in the film and in the ensuing debate?

Some Links:

*http://www.tookie.com/tookie_fact_sheet_10.18.05.pdf
*http://da.co.la.ca.us/pdf/swilliams.pdf
*http://www.savetookie.org/ // http://www.tookie.com/
*Snoop Dogg at San Quentin Prison speaking on Tookie http://de.youtube.com/watch?v=qASQBKwngsE&feature=related
::--[[User:Sonja|Sonja Büsing]] 13:30, 02.05.2008

==May 9: The dark side==
* [http://en.wikipedia.org/wiki/Monster%27s_ball ''Monster’s Ball''] (2001)
* [http://en.wikipedia.org/wiki/Identity_(film) ''Identity''] (2003)
* [http://en.wikipedia.org/wiki/The_Green_Mile_%28film%29 ''The Green Mile''] (1999)
The capital punishment seems to have a dark side - how is this dark side connected with the general appeal of the death penalty?

----

Dear Participants of my Seminar on Capital Punishment in US Movies,

I still have not quite made up my mind about how we should proceed. I wanted to see a larger number of these films to get an idea of the "genre" - if one can speak of such a genre.

...and I think one can. People have ideas about what a movie of "this kind" should include. The advertising material for ''Monster's Ball'' proves the existence of the genre by denying that this film fits into it. ''Last Dance'' on the other hand blatantly exploits the genre conventions (of which I'd like to have the clearer picture) - at times ''Last Dance'' is almost a copy of ''Dead Man Walking'' though with reversed roles.

*Option one: We take a look into ''Last Dance'' - the debate might be flat at the moment, it might circle around ''Dead Man Walking'' as the movie with which one will compare the film.
*Option two: We take another look at ''Green Mile'' - I had a problem with the video projector last time and would make sure that we won't have the same problem again. Contra-indication here: It might be difficult to get an interesting discussion, since I did not plan two sessions with distinct topics before hand. I still have my own questions - yet I realised it is difficult to give them momentum: I am intrigued about this kind of magic realism. It makes me feel uneasy. I have spent some thoughts on this uneasiness over the weekend and realised it is a general problem I have with materials which want to be interpreted. It is the role of the intended interpretation per se which makes me ask for a cultural theory of such materials and their potentials (a difficult topic).
*Option three: We change the plan an move on to ''David Gale'' for next session. As you know I did not like the film - wondering whether it does not blatantly discredit the movement of human rights activists opposing capital punishment. I would offer an option to watch the movie at my place tomorrow, Thursday, 20.45 pm.

The reshuffling of the schedule could give us a chance to directly move on to Robert Altman's film and to use the questions Altman asks for the more interesting debate of ''Last Dance'' and ''True Crime'' in the ensuing sessions.

I am slightly in favour of option three - need, however, your consent to prepare ''David Gale'' for Friday.

I am also still waiting for the clearer picture of your personal plans of seminar-work. The seminar will not become interesting if you do not turn it into the platform on which you take your first steps into the works you intend to write. I want you to use the seminar to test observations and ideas and to get feedback from your colleagues,

best, --[[User:Olaf Simons|Olaf Simons]] 11:07, 14 May 2008 (CEST)

::PS ''Last Dance'' would (if we took option three) become part of three sessions circling around Altman's film. ''A Time to Kill'' would move into the self administered justice section. ''True Crime'' and ''Dirty Harry'' would move closer together.

----

* I'd prefer option three just because I didn't like the "Green Mile" too much. Heard quite a lot about "David Gale" and would like to see it. (Marie-Ann Mowka)
* ''David Gale'' would be okay, although I'd like to further discuss ''The Green Mile'', as well. However, maybe we should discuss the further outline of the seminar in the next session, which would give us the possibility to shift the postion of some films... --[[User:Bastian Martens|Bastian Martens]] 11:21, 15 May 2008 (CEST)
*I think we should catch up with the "Green Mile" material we were up to watch last week and then continue with "David Gale". (Raimund Teske)
* I agree with Raimund

==May 16: Rescheduling the Course, Ideas for individual seminar papers discussed==
*Andrea Kröger: Vigilantism. (See also the film list at [http://en.wikipedia.org/wiki/Vigilante en.wikipedia]
*Jochen Berkowsky: Lars von Trier, [http://en.wikipedia.org/wiki/Dancer_in_the_dark ''Dancer in the Dark''] - a European perspective on capital punishment in the USA.
*Philipp Kreutzer, [http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003) - Public reception
*Anna Rozwadowska, Vigilantism.

Hauke Uterhark proposed to add David Fincher's [http://en.wikipedia.org/wiki/Seven_%28film%29 ''Se7en''] (1995) to our selection of vigilantism films.

==May 23: Human rights activists on trial?==

* [http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003)
''The Life of David Gale'' (2003) is probably the worst movie on the list - worth examining as a questionable item. Philipp promised a Thesenpapier (questions he will ask in his seminar paper, views he would try to prove, ideas how he might prove what he would like to prove...) --[[User:Olaf Simons|Olaf Simons]] 13:26, 17 May 2008 (CEST)

==May 30: Hollywood on trial==
* [http://en.wikipedia.org/wiki/The_Player ''The Player''] (1992)
Invites a reevaluation of the films we have seen so far.

'''Additional Screening:''' Wednesday 5/28/08, Brandsweg 25, 8 p.m., Hagemann (movie will be there, bring what you need) Jochen & Jens

(Anna Rozwadowska)
Hi everybody. I am interested in an additional screening "session" because I can´t come on thursday; who else is? I would prefer wednesday evening. I can offer my place (which is Tannenkampstr. 31) if there is no other possible place to meet.
But: somebody would have to bring the film :)

==June 6: Is there a Genre of Execution Row Movies?==
* [http://en.wikipedia.org/wiki/Last_Dance_%28film%29 ''Last Dance''] (1996)
* [http://en.wikipedia.org/wiki/True_Crime_%281999_film%29 ''True Crime''] (1999)

''Last Dance'' has a number of scenes which seem to recall ''Dead Man Walking''. Clint Esastwood's ''True Crime'' is another good candidate for a film produced against the backdrop of genre conventions. Watch both movies without the ending:

* stop [http://en.wikipedia.org/wiki/Last_Dance_%28film%29 ''Last Dance''] when her execution is interrupted.
* stop [http://en.wikipedia.org/wiki/True_Crime_%281999_film%29 ''True Crime''] when you see the wife of the convicted man in her last desperation outside the execution chamber.

Isabelle promised a talk on the question of arguments and emotions. It would be nice if you could provide a Thesenpapier on your topic, something like a sketch of the work you would write. --[[User:Olaf Simons|Olaf Simons]] 16:31, 30 May 2008 (CEST)

==June 13: The US-American Genre - A comparison of films==
*Krzysztof Kieslowski, ''A Short Film About Killing'' (Poland 1988) [http://de.wikipedia.org/wiki/Ein_kurzer_Film_%C3%BCber_das_T%C3%B6ten German wikipedia]

Jochen Berkowsky might offer an additional presentation on Lars von Trier, [http://en.wikipedia.org/wiki/Dancer_in_the_dark ''Dancer in the Dark''] (2000)

'''Task for all:''' Watch Krzysztof Kieslowski, ''A Short Film About Killing'' (Poland 1988). You'll find copies in the library or might see the film in group on Wed. 11, Tannenkampstr. 12, due to our bright nights at 21.30.

Prepare a statement on a comparison of Kieslowski's film and a US-film you will analyse in your written work:

*Flashbacks
*Camera perspectives (with a look at the protagonists, whose views do we get?)
*Which discussions are brought explicitly into the two films?
*What roles do the media and the public play in your films?
*What roles do the victims play in your films?
*What role does religion play in your films?
*What roles do bereaved family members play in your films?
*How is colour used in your films?
*How is music (or: sound) used in your films?
*How do your films create suspense?
*Is there a rhythm of suspense and relaxation?
*Is the plot transcended by a deeper significance to be interpreted into the events?
*With whom do we suffer?
*Are there protagonists whose suffering we begin to apreciate?
*...a topic of your choice

We should take a look at the different statements and discuss which of the questions turn out to be fruitful ground for further investigation. --[[User:Olaf Simons|Olaf Simons]] 15:43, 9 June 2008 (CEST)

----

Kurze Fragen bezüglich des "Absatzes": 1) Wie lang ist ungefähr ein "Absatz"? 2) Das muss ja bis Freitag sein - sollen wir diese Fragen bzw. eine dieser Fragen jeweils auf den gesamten Film anwenden oder auf spezielle Szenen? - hängt von der Länge des Absatzes ab. Zwei gesamte Filme auf die Musik oder Kameraperspektive hin zu analysieren ist - ähm, lang. 3) Soll die Analyse eher objektiv oder subjektiv sein in Bezug auf unsere eigene Wahrnehmung? Darf ich z.B. zum Thema Musik auch auf wissenschaftliche Theorien hinweisen oder magst Du eher, dass wir schreiben wie wir sie empfanden? (eigentlich eine total bescheuerte Frage, "Herr Dozent, was mögen Sie lieber...?" ...) : ) [[User:Verena Engelhardt|Verena Engelhardt]] 17:54, 9 June 2008 (CEST)

:Ich will eine These zum Befund, nicht die Analyse selbst - eine Voraussage, was man mit der Untersuchung fände (wenn man sie etwa als Seminararbeit machen würde). Dazu kann man ein zwei Momente erwägen, an denen sich das absehbare Ergebnis deutlich zeigen würde. Ich möchte in der Stunde überlegen, welche Untersuchungen zu welchen Befunden führen - denn darum geht es mir mit dem Seminar insgesamt: Im ersten Schritt den Gegenstand fragwürdig zu machen, Neugier zu schaffen, im zweiten das Nachdenken dazu einzuleiten, mit welchen Untersuchung man die Fragen, die man zunehmend klar für sich formuliert kriegt, demonstrativ beantworten kann. --[[User:Olaf Simons|Olaf Simons]] 20:33, 9 June 2008 (CEST)

::Okay, ich oute mich als überfordert und zu dumm. Was ist eine These zum Befund? Dass ich formuliere, was theoretisch am Ende herauskommen könnte, nicht aber schon der Beweis? Und mit ein zwei Momenten meinst Du ein bis zwei Momente im Film? Tut mir leid, wenn ich blöd nachfrage - irgendwie merke ich an dieser Stelle, dass ich tatsächlich noch nicht im Masterstudium bin :( [[User:Verena Engelhardt|Verena Engelhardt]] 21:26, 9 June 2008 (CEST)

==June 20: Taking the Law Into One's Own Hands, I==
* [http://en.wikipedia.org/wiki/A_Time_to_Kill_(film) ''A Time to Kill''] (1996)

==June 27: 27.06. Taking the Law Into One's Own Hands, II==
* [http://en.wikipedia.org/wiki/The_Brave_One_%282007_film%29 ''The Brave One''] (2007) directed by Neil Jordan, starring Jodie Foster. A mayhem victim avenges the death of her husband under the protection of the police officer who is supposed to solve the case. [http://thebraveone.warnerbros.com/ www.thebraveone.warnerbros.com] [http://www.imdb.com/title/tt0476964/ IMDb]

''Brave One'' and ''Time to Kill'' are an interesting combination. ''Time to Kill'' refers to Ecclesiastes Chapter 3 - so one think there is a second option to analyse the film - an option beyond speaking about the topics the film openly presents. ''Brave One'' plays - in contrast - with options of a deeper meaning, and I wonder how they are functionalised. We had something similar with ''Green Mile'' and the interpretations the film offered as a parable of humane existence or of Christ's suffering for mankind. How are the deeper-meaning-options integrated? Do they enforce certain re-evaluations of central messages the film could be said to transport? --[[User:Olaf Simons|Olaf Simons]] 14:37, 21 June 2008 (CEST)

----

Hallo Olaf, ich hab eine Frage zum Thema Hausarbeit. Ich möchte gern zu "The Brave One" schreiben aber bislang fehlte es mir an Ideen.
Nun hab ich den Film ein zweites Mal gesehen und mich stark auf die Musik und die Farben konzentriert. Dabei kam mir der Gedanke (der aber noch gänzlich unausgereift ist) ob man etwas darüber schreiben könnte, inwiefern (vor allem) die Auswahl der Musik und evt. auch die der Farben dazu führt, dass der Betrachter eine "Pro-Death-Penalty" Einstellung, bzw. eine starke Sympathie für die Figur, die die Selbstjustiz ausführt, entwickelt.
Explizitere Ideen zur Strukturierung, oder so, hab ich aber noch nicht. Grüße, Anna Rozwadowska
:Das ist eine These, von der ich soeben zwei Hälften sehe: die eine Hälfte sagt "in dem Film wird die Todesstrafe propagiert" (Frage: kannst Du das belegen?), die andere Hälfte ist: "Die Musik macht/unterstützt das." - Frage: welche Musik sollte das wie schaffen? - das ist unklar. Willst Du mir erklären, daß eine andere Musik unter dem Film ein anderes Ergebnis brächte? Ist es die Musik selbst - die Tatsache, daß da überhaupt welche ist? Sind bestimmte Musik-genres das problematische?) Ich werfe das mal in den Raum. Damit das eine Arbeit wird, muß die These da noch etwas Konturen gewinnen - spannend ist bereits, wenn Du klarstellen kannst, daß der Film eine klare Tendenz hat - denn auch das wirft auch Folgefragen auf: Darf der Film ungestraft ein Pladoyer für die Todesstrafe oder Selbstjustiz sein??? ohne etwa billige Death-Penalty-Propaganda zu werden? Spannendes Gebiet. --[[User:Olaf Simons|Olaf Simons]] 19:57, 17 June 2008 (CEST)
::Also, wenn man davon ausgeht (wie wir das mal im Seminar kurz angerissen hatten), dass Selbstjustiz eine Form von Todesstrafe ist, so würde ich die Aussage, dass "in dem Film die Todesstrafe propagiert wird" mit einem "Ja" beantworten wollen. Es lassen sich mit Sicherheit Belege finden, ich möchte aber momentan noch keine Beispiele nennen.
::Was die Musik angeht (und evt auch die Auswahl der Farben und die Kameraführung):.... Ich habe da so eine fixe Idee, die aber eben noch unausgereift ist. Ich denke, dass bestimmte Musikinstrumente und Melodien bestimmte Emotionen hervorrufen bzw. in bestimmten Situationen bestimmte Stimmungen beeinflussen, und dass sie zwecks dieser Beeinflussung eingesetzt werden. Wie es ja nun eigentlich in nahezu jedem Film der Fall ist.(Ich denke generell, dass eine andere Musik evt eine andere Reaktion des Betrachters hervorgerufen hätte...welche Musik welche Reaktion vermag ich allerdings momentan nicht zu sagen.)
::In manchen Szenen (so empfand ich das) wurde durch die besimmte Auswahl der Musikinstrumente, der Kameraführung und der Farben auch eine Einsicht in das "Innenleben" von Erica gewährt. (Zum Beispiel, wenn sie in ihrem Hausflur ist und auf die Tür zusteuert...durch die wankende Kameraführung entsteht ein Gefühl von Unsicherheit). Alles zusammen unterstützt die Dramatik, die sie durchlebt.
::Ich denke weiterhin, dass jeder Betrachter durch sein Einfühlungsvermögen (welches eben auch durch bestimmte Musik, Farben und Kameraführung verstärkt wird) "mitdurchlebt", was Erica erlebt und somit ein Verständnis für ihre Handlung entwickelt. Wenn Erica als Teil des Ganzen steht (als Vertreter der Todesstrafe sozusagen), dann wird der Betrachter (zumindest was diesen Fall angeht) dazu gebracht die Todesstrafe als weniger tragisch, wenn nicht sogar als gerecht anzusehen.
::Abgesehen davon haben wir auf der anderen Seite ja noch den Polizisten Mercer, der als Teil fürs Ganze angesehen werden könnte (quasi als Vertreter der Justiz) und offensichtlich die Todesstrafe als gerecht ansieht. Aber das ist wiederum ein anderes Thema.
::Was die Folgefrage betrifft, die Du gestellt hast bzw. die aufgeworfen wird, so kann ich dazu noch keine Antwort/Idee liefern.
::Ach, es gibt soviel zu sagen, es fällt mir schwer, das hier kurz in Worte zu fassen. Grüße, Anna
:::Gut, Musik unterstreicht Emotionen. Korrekt auch: Die Heldin tötet - exekutiert sozusagen selbst. Aber: Ist das aber ein beleg dafür, daß der Film das als Positivum rüberbringen soll? In unserem polnischen Film wurde hingerichtet - war es ein Pro-Capital Punishment Film? --[[User:Olaf Simons|Olaf Simons]] 10:41, 19 June 2008 (CEST)
::::Ich glaube, was sie meinte war, dass Musik a) Emotionen repräsentiert und b) Emotionen beim Zuschauer hervorruft. In der Musikwissenschaft gibt es ja auch Ansätze, dass bestimmte Klänge bestimmte emotionale Reaktionen hervorrufen, siehe z.B. in der Musiktherapie. Da der Regisseur nichts dem Zufall überlässt, ist klar, dass er die komponierte Musik bewusst in der Szene exakt an der Stelle - und das ist wirklich minutiös gedacht - gesetzt hat, um etwas zu bewirken - und das ist schon manipulativ. Will der Filmemacher beim Zuschauer Emotionen manipulieren, so mag man die These aufstellen, dass er auch Tendenzen beim Zuschauer manipuliert, also Sympathie oder Antipathie gegenüber der Todesstrafe. Du hast ja selbst gesagt: These zum Befund, Beobachtungen machen und am Ende analysieren. [[User:Verena Engelhardt|Verena Engelhardt]] 11:13, 19 June 2008 (CEST)
::::Apropos: Du selbst sprichst von der "Heldin" - welcher Gedanke steckt dahinter - dass Du sie als Heldin wahrnimmst, ihre Taten als heldenhaft ansiehst? Du also Selbstjustiz gutheißt? Wie ist dieser Gedanke entstanden? Wurdest Du vom Filmemacher manipuliert? Wie wurdest Du manipuliert? etc. ; ) [[User:Verena Engelhardt|Verena Engelhardt]] 11:39, 19 June 2008 (CEST)
Zuerst einmal Danke an Verena. Ihr Beitrag trifft so ziemlich das, was ich auszusagen versucht habe.
Die einfache Tatsache, dass die "Heldin" tötet ist meiner Meinung nach kein Belege dafür, dass der Film die Todesstrafe propagiert.(So habe ich das auch nicht gemeint in dem Abschnitt oben-ich wollte aussagen, dass man durch bestimmte Features eine Einsicht in ihre Gefühlswelt erhält und sich so leichter mit ihr identifizieren kann und so ein Verständnis für ihre Handlung entwickelt-diese evt sogar als gerechtfertigt epmfindet).
Belege dafür, dass der Film als Pro-Death (oder pro Selbstjustiz) angesehen werden kann, wären eher die Reaktionen der Öffentlichkeit, die des Polizisten, aber auch ihre eigene Reaktion.
Gruß, Anna
:Heldin benutzte ich auf die schnelle, dem Film Rechnung tragend, der sie als "Brave One" verkauft. Neutral ist immer "Protagonist". Speak of "cenral protagonist/s" where that will be appropriate, and of an "antagonist" if you want to mark a fundamental tension between a central protagonist and his opponent.
:It is not necessarily the case that she is taking a "good" course in this film - I felt the evaluation of her actions was - in the film - a bit more complex.
:As to the music: Imagine we'd get different music with these scenes. You said we'd then get a different message as to whether this is a pro- or contra-capital-punishment movie (where I began to feel uneasy about your general presumption that it actually is a pro-capital-punishment-movie... what if it is not?) --[[User:Olaf Simons|Olaf Simons]] 15:33, 19 June 2008 (CEST) PS. sign discussion statements with <nowiki>~~~~</nowiki>
::"''Heldin benutzte ich auf die schnelle, dem Film Rechnung tragend, der sie als "Brave One" verkauft''" - da hätten wir doch schon mal einen Anhaltspunkt: Der Titel.
::"The Brave One" heißt ja was anderes als "Die Fremde in Dir", welcher Titel scheint da kritischer zu sein? Wenn der Titel schon von einer "Brave One" spricht, behaupte ich mal dreist (als These), dass das bereits eine Aussage pro Selbstjustiz ist (nicht pro capital punishment).
::Eigentlich ist dies ja Annas Thema, aber da es mein Thema streift, finde ich es wahnsinnig spannend. Sorry an Anna für die permanente Einmischung ; ) [[User:Verena Engelhardt|Verena Engelhardt]] 16:29, 19 June 2008 (CEST)
:::Na, dafür ist Wiki schließlich da....für mögliche Einmischung. Finds super. Grüße, Ann
:::Das mit dem Titel ist mir auch aufgefallen....nimmt an den Englischen, so könnte das evt. eine Aussage in Deinem Sinne sein. Der deutsche Titel hingegen, so finde ich, deutet auf die Zerissenheit der Hauptfigur hin, die mir beim erneuten Gucken aufgefallen ist. Ich finde den deutschen Titel irgendwie passender.
:::Grüße, Anna

::::Hallo Anna! Wenn du wirklich was zur Musik in 'The Brave One' machen willst, solltest du dir auf jeden Fall die Lyrics der Lieder anschauen, die während des Films gespielt werden. Als Non-Native-Speaker achtet man da glaub ich weniger drauf, aber die Lieder sind fast nie ohne Bedacht gewählt und gerade bei 'Brave One' hatte ich wirklich das Gefühl, dass mit den Lyrics noch zusätzliche Inhalte transportiert, bzw. Gefühle verstärkt werden sollten. Die instrumentalen Teile fand ich zwar nett und gut eingesetzt, aber im Endeffekt weniger aussagekräftig. Da ließe sich wahrscheinlich über die Instrumentalmusik in jedem anderen Film genauso viel oder wenig sagen...
::::Ericas Radiobotschaften könnten auch nen interessanter Punkt sein, an dem du nach einer tieferen Bedeutung suchen könntest. Ihre Stimme und die mit Bedacht gewählten Worte vermittelten mir den Eindruck, als würde Poesie vorgetragen und mit den (vermutlich sehr bewusst gewählten) Hintergrundgeräuschen sind wir dann auch nicht mehr ganz weit von Musik entfernt, zumindest was die mögliche Wirkung angeht. --[[User:Bastian Martens|Bastian Martens]] 10:43, 27 June 2008 (CEST)

Hallo Olaf. Ich muss mich eben nochmal berichtigen. Die Screeningsession von The Brave One wurde auf Mittwoch verlegt, weil ich sagte, am Donnerstag sei das Halbfinale der deutschen Fußballmannschaft. Leider hab ich mich da geirrt, das ist Mittwoch. Sorry, dass ich wegen solcher Trivialitäten den Plan durcheinander bringe... aber ich zumindest würde das schon gerne sehen. Gruß. [[User:Jochen Berkowsky|Jochen Berkowsky]] 14:30, 21 June 2008 (CEST)
:Shifted the evening to Thursday. --[[User:Olaf Simons|Olaf Simons]] 14:46, 21 June 2008 (CEST)
::Please: What do you mean by speaking of a "deeper meaning" in ''The Brave One''?
::Btw: Could you please take a look at this: [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Talk:2008_MM_Present_US-Cinema_and_the_Death_Penalty#Topics_for_seminar_papers Topics for seminar papers] - after one week I get the impression you won't do it without being asked for it : ) [[User:Verena Engelhardt|Verena Engelhardt]] 14:57, 21 June 2008 (CEST)
:::Answered you there. The deeper meaning? I just remember that I left the cinema with the idea that I could offer an interpretation - yet then I said: why not have a seminar on such films and let my students think. --[[User:Olaf Simons|Olaf Simons]] 16:02, 21 June 2008 (CEST)

==July 4: ==
I leave this open for consideration of seminar papers.

==July 11: Dancer in the Dark or the complex usability of the topic==
Jochen Berkowsky: Lars von Trier, [http://en.wikipedia.org/wiki/Dancer_in_the_dark ''Dancer in the Dark''] - a European perspective on capital punishment in the USA.

Look back on the seminar and my feedback on the seminar evaluation.

===Topics===
====Background information====
* The history of the death penalty and Foucault's work.
* The legal status in the US
* Pro and contra: interest groups
* The question of method - from electrocution to the lethal injection - what is the function of the debate?
* Religion and the death penalty

====Seminar papers====
Be creative! And open a special section on the [[Talk:2008 MM Present US-Cinema and the Death Penalty|Discussion page]] to give outlines of topics you are interested in.

=== Films in which the death penalty plays a major role ===

* [http://www.imdb.com/title/tt0972554/ ''Execution''] (2007) directed by Steven Scaffidi. In the year 1995 two filmmakers gained access to death row and filmed the final seven days of a man before he got executed. The Warden confiscated the film footage, but ten years later the filmmakers get the film footage back. You can see some pictures and a trailer on [http://www.executionfilm.com/execution_dot_com/index.php www.executionfilm.com] [http://www.imdb.com/title/tt0972554/ IMDb] (Andrea)

* [http://en.wikipedia.org/wiki/Redemption:_The_Stan_Tookie_Williams_Story ''Redemption: The Stan Tookie Williams Story''] (2004) (TV) Film directed by Vondie Curtis-Hall and starring Jamie Foxx. The film is based on the true story of Stan "Tookie" Williams, founder of the "Crips", a street gang in L.A. He was accused of murder, prisoned and executed. While in Death Row, he started writing children's novels, which earned him Nobel Peace Prize nominations. [http://www.imdb.com/title/tt0388367/ IMDb]

* [http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003) directed by Alan Parker, starring Kate Winslet and Kevin Spacey. An acitivist against the death penalty is accused of murdering a fellow activist and is sentenced to death. While he is in prison, he tells his story to a reporter in flashbacks. [http://www.thelifeofdavidgale.com/ www.thelifeofdavidgale.com] [http://www.imdb.com/title/tt0289992/ IMDb]

* [http://en.wikipedia.org/wiki/Monster_%28film%29 ''Monster''] (2003) directed by Patty Jenkins Adapting the true story of female serial killer Aileen Wuornos, a former prostitute who was executed in 2002 for killing seven men in the late 1980s and early 1990s. [http://www.imdb.com/title/tt0340855/ IMDb] not ordered for library

* [http://en.wikipedia.org/wiki/Monster%27s_ball ''Monster’s Ball''] (2001) directed by Marc Foster, starring Oscar-Winner Halle Barry and Billy Bob Thornton. Thornton plays a racist prison guard who falls in love with the wife of the last prisoner he executed and reexamines his own attitudes. [http://www.imdb.com/title/tt0285742/ IMDb]

* [http://en.wikipedia.org/wiki/Dancer_in_the_Dark ''Dancer in the Dark''] (2000) [http://www.dancerinthedarkmovie.com/ www.dancerinthedarkmovie.com] [http://www.imdb.com/title/tt0168629/ IMDb]

* [http://en.wikipedia.org/wiki/The_Green_Mile_%28film%29 ''The Green Mile''] (1999) directed by Frank Darabont, starring Tom Hanks and Micheal Clarke Duncan. The lives of prison guards leading the condemned prisoners to their executions, one of them went to prison on false accusation. [http://thegreenmile.warnerbros.com/ thegreenmile.warnerbros.com] [http://www.imdb.com/title/tt0120689/ IMDb]

* [http://en.wikipedia.org/wiki/True_Crime_%281999_film%29 ''True Crime''] (1999) directed by Clint Eastwood, based on Andrew Klavan's novel, who also wrote the screenplay. Frank Beachum was sentenced to death but claims to be innocent. Steve Everett played by Eastwood is a journalist who attempts to find the truth about the murder. [http://www.truecrimethemovie.com/ www.truecrimethemovie.com] [http://www.imdb.com/title/tt0139668/ IMDb]

* [http://en.wikipedia.org/wiki/The_Chamber_%28film%29 ''The Chamber''] (1996) based on the John Grisham novel of the same name, directed by James Foley, and starring Gene Hackman and Chris O'Donnell.

* [http://en.wikipedia.org/wiki/Last_Dance_%28film%29 ''Last Dance''] (1996) directed by Bruce Beresford. [http://www.imdb.com/title/tt0116827/ IMDb]

* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995) directed by Tim Robbins, starring Susan Sarandon and Sean Penn. [http://www.imdb.com/title/tt0112818/ IMDb]

*[http://en.wikipedia.org/wiki/Just_Cause_%28film%29 ''Just Cause''] (1995) based on John Katzenbach's novel of the same name, directed by Arne Glimcher, starring Sean Connery and Laurence Fishburne. [http://www.imdb.com/title/tt0113501/ IMDb]

*[http://en.wikipedia.org/wiki/Witness_to_the_Execution ''Witness to the Execution''] (1994) a made-for-TV movie on a fictional television network's desire to carry as a pay-per-view event, the live execution of a condemned killer.

* [http://en.wikipedia.org/wiki/The_Player ''The Player''] (1992) directed by Robert Altman using a screenplay by Michael Tolkin based on his own novel. [http://www.imdb.com/title/tt0105151/ IMDb]

----

* [http://en.wikipedia.org/wiki/I_Want_to_Live%21 ''I Want to Live!''] (1958) directed by Robert Wise, tells the "true" story of a woman, Barbara Graham, convicted of murder and facing execution, features Susan Hayward, Simon Oakland, Stafford Repp, and Theodore Bike.

*[http://en.wikipedia.org/wiki/Angels_with_dirty_faces ''Angels with Dirty Faces''] (1938) directed by Michael Curtiz and starring James Cagney, Humphrey Bogart, Pat O'Brien, and the Dead End Kids.

=== Films in which self-administered justice becomes a major topic ===

* [http://en.wikipedia.org/wiki/Death_Sentence_%28film%29 ''Death Sentence''] (2007) A drama directed by James Wan. With Kevin Bacon, John Goodman and Kelly Preston. An executive witnesses a crime that changes his life. He wants to protect his family and seeks revenge. [http://www.deathsentencemovie.com/ www.deathsentencemovie.com] [http://www.imdb.com/title/tt0804461/ IMDb]

* [http://en.wikipedia.org/wiki/The_Brave_One_%282007_film%29 ''The Brave One''] (2007) directed by Neil Jordan, starring Jodie Foster. A mayhem victim avenges the death of her husband under the protection of the police officer who is supposed to solve the case. [http://thebraveone.warnerbros.com/ www.thebraveone.warnerbros.com] [http://www.imdb.com/title/tt0476964/ IMDb]

* [http://en.wikipedia.org/wiki/The_Punisher_%282004_film%29 ''The Punisher''] (2004) directed by Jonathan Hensleigh. After his wife and family are killed, Frank Castle takes it upon himself to distribute punishment to those responsible for the vendetta. [http://www.punishermovie.com/ www.punishermovie.com] [http://www.imdb.com/title/tt0330793/ IMDb]

* [http://en.wikipedia.org/wiki/Double_Jeopardy_(film) ''Double Jeopardy''] (1999) directed by Bruce Beresford, starring Ashley Judd and Tommy Lee Jones. An innocent woman is sentenced to death for the murder of her husband. While in prison, she discovers that her husband is still alive and that he and her best friend betrayed her. After her release on probation, she wants to take revenge; based on the American law that a person cannot be re-accused of the same crime. [http://www.imdb.com/title/tt0150377/ IMDb]

* [http://en.wikipedia.org/wiki/A_Time_to_Kill_(film) ''A Time to Kill''] (1996) based on the novel written by John Grisham. A father takes revenge on the rapists of his daughter. [http://www.imdb.com/title/tt0117913/ IMDb]

* [http://en.wikipedia.org/wiki/Seven_%28film%29 ''Se7en''] (1995) [http://www.imdb.com/title/tt0114369/ IMDb]

* [http://en.wikipedia.org/wiki/Dirty_Harry ''Dirty Harry''] (1971) with its sequels which handle the topic of vigilante justice in variations till [http://en.wikipedia.org/wiki/The_Dead_Pool ''The Dead Pool''] (1988). [http://www.imdb.com/title/tt0066999/ Dirty Harry on IMDb] [http://www.imdb.com/title/tt0094963/ The Dead Pool on IMDb]

=== Films in which the accidental death of the criminal reestablishes a higher justice ===

=== Documentary films (German/additional/available at the university library) ===

* Dubois, Jean-Paul. ''Henker erzählen: Todesstrafe in den USA.'' Frankreich, 2004. Fernsehmitschnitt Sw: USA. Fernsehmitschnitt: WDR, 22.10.2004. (VHS, farb., 50 Min.) (Dokumentation über Henker in den USA, die sich kritisch mit ihrer Arbeit und der Todesstrafe auseinandersetzen)

* Kessel, Julie von. ''The Innocence Project.'' Deutschland, 2002. Fernsehmitschnitt: Arte, 03.12.2002. (VHS, farb., 20 Min.) (Bericht über ein DNA-Projekt der New Yorker Columbia University, das sich mit Schuld oder Unschuld zum Tode Verurteilter beschäftigt.)

* Steinberg, Klaus; Bock, Astrid. ''Leben mit der Hinrichtung: Begegnungen im Todestrakt.'' Deutschland, 1997. Fernsehmitschnitt: ZDF (37 Grad), 12.08.1997. (VHS, farb., 30 Min.') (Bericht über zum Tode verurteilte Häftlinge in den USA.)

* Walwin, Kent; Trombley, Stephen [Reg.]. ''L 'état meurtrier'' = Der Staat als Mörder. Deutschland/Frankreich, 1996. Fernsehmitschnitt: ARTE, 21.3.1996, 20,45 Uhr. (VHS, Zweikanalton, Monospur dt., farb., 75 Min.) (Auseinandersetzung um die Todesstrafe vom Ursprung bis zur heutigen Praxis in den USA)

* Hoewijk, Jaap van. ''Procedure 769: a hanging.'' Niederlande, 1995. Fernsehmitschnitt: West 3, 15.4.1996, 23,00 Uhr. (VHS, farb., 80 Min) (Der Film geht der Frage nach, warum Angehörige des Täters und der Opfer von Robert A. Harris dessen Hinrichtung beiwohnten.)

* Leacock, Richard; Pennebaker, Don Alan. ''The chair'' = Der Stuhl. Monospur dt., Stereospur engl. USA, 1963. Fernsehmitschnitt: Arte, 18.10.1996. (VHS, s/w, 75 Min.) (Documentary about the death sentence.)

* Reinhold, Frank. ''Take care'' = Gib auf dich acht! Deutschland, 1997. Fernsehmitschnitt: ARTE, 10.6.1997. (VHS, Zweikanalton, Monospur dt., Stereospur franz., farb., 60 Min.) (Die Liebesgeschichte zwischen dem in den USA zum Tode verurteilten Schwarzen Arthur Lee Williams und einer Deutschen von Amnesty International.)

* [http://de.youtube.com/watch?v=4H9CAdwGMiU Death Row Kids - USA]. I found this on YouTube: a 25min documentary about two young men who've been sentenced to death at the age of seventeen.

===Literature===
MLA on "Death Penalty", "Capital Punishment", "Execution", "The Player"

'''2007'''
*Tolkin, Michael. "[Fiction into Film.]" ''BookForum: The Review for Art, Fiction, & Culture'', 14:2 (2007 June-Aug), pp. 36-37. [Subject Terms: American literature; 1900-1999; Tolkin, Michael (1950-): The Player (1988); novel; film adaptation; by Altman, Robert (1925-2006).]

'''2006'''
* O'Shea, Kathleen. Killing the Killers: Women on Death Row in the United States. pp. 67-82. Burfoot, Annette (ed. and introd.) Lord, Susan (ed. and introd.). ''Killing Women: The Visual Culture of Gender and Violence'' Cultural Studies Series. 6. Waterloo, ON: Wilfred Laurier UP, 2006. xxii, 328 pp. (Book article) [Subject Terms: Dramatic arts; television; in United States; 1998; treatment of women murderers; religious conversion; relationship to capital punishment; social conventions; of femininity; objectification.]

'''2005'''
* George, Diana and Shoos, Diane. "Deflecting the Political in the Visual Images of Execution and the Death Penalty Debate". ''College English'', 67:6 (2005 July), pp. 587-609. (Journal article) [Subject Terms: Dramatic arts; film; treatment of capital punishment; compared to photographs; of lynching; relationship to witness; voyeurism.]
*Poirot, Valérie. Cinéma et engagement: Représentations de la peine de mort et images d'exécution dans les productions américaines et françaises. ''Dissertation Abstracts International, Section A: The Humanities and Social Sciences'', 66:3 (2005 Sept), p. 798. (Dissertation abstract) [Subject Terms: Dramatic arts; film; in France; United States; 1970-1999; treatment of execution.]
* Reinelt, Janelle. "The Ambivalence of Catholic Compassion". ''Journal of Dramatic Theory and Criticism'', 20:1 (2005 Fall), pp. 103-12. (Journal article) [Subject Terms: American literature; 1900-1999; Prejean, Helen (1939-): Dead Man Walking (1993); prose; treatment of capital punishment; relationship to Christianity.]
*Schuyler, Michael T. "'Traffic Was a Bitch': Gender, Race and Spectatorship in Robert Altman's The Player." ''Journal of Narrative Theory'', 35:2 (2005 Summer), pp. 218-47. (Journal article) [Subject Terms: Dramatic arts; film; treatment of women; blacks; relationship to spectator; in Altman, Robert (1925-2006): The Player (1992).]
*Wilson D. and O'Sullivan S., "Re-theorising the penal reform functions of the prison film: revelation, humanization, empathy and benchmarking", ''Theoretical Criminology'' Vol. 9 No. 4.Autumn (2005) pp 471-491. [http://tcr.sagepub.com/cgi/reprint/9/4/471 pdf]

'''2004'''
*Russell Smyth/ Paresh Kumar Narayan, "Dead Man Walking: An Empirical Reassessment of the Deterrent Effect of Capital Punishment Using the Bounds Testing Approach to Cointegration", Paper provided by Econometric Society in its series Econometric Society 2004 Australasian Meetings with number 332. [http://repec.org/esAUSM04/up.9850.1079300147.pdf pdf] (not quite relevant in our context, but an interesting piece of science).

'''2003'''
* Horeck, Tanya. "From Documentary to Drama: Capturing Aileen Wuornos." ''Screen'', 48:2 (2007 Summer), pp. 141-59. [Treatment of Wuornos, Aileen (1956-2002); women murderers; capital punishment; in Broomfield, Nicholas (1948-) and Churchill, Joan: Aileen: Life and Death of a Serial Killer (2003) compared to Jenkins, Patty (1971-): Monster (2003).] see: [http://en.wikipedia.org/wiki/Aileen_Wuornos:_The_Selling_of_a_Serial_Killer en.wikipedia.org]
*Goldsmith, David F. "Monster." ''Creative Screenwriting'', 11:1 (2004 Jan-Feb), pp. 30-31. (Journal article) [Subject Terms: Dramatic arts; film; film genres; crime film; treatment of prostitute; sexual abuse; relationship to revenge; capital punishment; in Jenkins, Patty: Monster (2003).]
* Meranze, Michael. "Michel Foucault, the Death Penalty and the Crisis of Historical Understanding." ''Historical Reflections/Réflexions Historiques,'' 29:2 (2003 Summer), pp. 191-209. (Journal article) [Subject Terms: French literature; 1900-1999; Foucault, Michel (1926-1984): L'Histoire de la sexualité (1976); History of Sexuality: "Il faut défendre la société"; prose; treatment of capital punishment; relationship to war; race; power.]
*O'Sullivan S, "Representing 'the killing state': the death penalty in nineties Hollywood Cinema", ''The Howard Journal of Criminal Justice'' Vol. 42 No. 5 December 2003. [http://www.lhds.bcu.ac.uk/criminaljustice/docs/Representing.pdf pdf]
* Parker, Alan. "Gale Force: My Personal Journey to a Death Row Drama." ''Film Journal International'', 106:2 (2003 Feb), p. 12, 30. (Journal article) [Subject Terms: Dramatic arts; film; treatment of capital punishment; in Parker, Alan (1944-): The Life of David Gale (2003); interview.]

'''2002'''
*Stuart Banner, ''The Death Penalty: An American History''. Harvard: UP, 2002. [http://books.google.de/books?hl=en&lr=&id=FzayhpsWJ5oC&oi=fnd&pg=PP9&dq=%22death+penalty%22+movies&ots=hb0NiIf37C&sig=xNPrluwR31Q2IvnfzVrmynv_080 google books]
*Jeffrey L. Kirchmeier, "Another Place Beyond Here: The Death Penalty Moratorium Movement in the United States". ''University of Colorado Law Review'', Vol. 73, 2002 [http://papers.ssrn.com/sol3/Delivery.cfm/SSRN_ID914162_code515218.pdf?abstractid=914162&mirid=3 pdf]

'''1999'''
*Sarat, Austin (Amherst College), "The Cultural Life of Capital Punishment: Responsibility and Representation in ''Dead Man Walking'' and ''Last Dance''". ''Yale Journal of Law & the Humanities'', Vol. 11, Pp. 153-190, 1999. [http://papers.ssrn.com/sol3/papers.cfm?abstract_id=171719 abstract]
*Neubert, Ingo. "Sichtweisen des Fremden: Der amerikanische Dokumentarfilm und das Lernziel interkultureller Kompetenz: Dargestellt an der Direct-Cinema-Produktion The Chair zur Situation der Todesstrafe in den USA." ''Anglistik und Englischunterricht'', 62 (1999), pp. 407-30. (Journal article) [Subject Terms: Dramatic arts; film; film genres; documentary film; treatment of capital punishment; in Drew, Robert L. (1924-): The Chair (1962).]
*Prédal, René. "The Player ou la mort du scénariste," pp. 127-47. Estève, Michel (ed. and introd.). ''Robert Altman.'' Paris, France: Minard, 1999. 209 pp. [Subject Terms: American literature; 1900-1999; Tolkin, Michael (1950-): The Player (1988); novel; intertextuality; plot; relationship to Hollywood; in screenplay; for film adaptation; by Altman, Robert (1925-).]
* Stoekl, Allan. "Execution and the Human." ''Intertexts'', 3:1 (1999 Spring), pp. 3-31. (Journal article) [Subject Terms: American literature; 1900-1999; Dick, Philip K. (1928-1982): Do Androids Dream of Electric Sheep? (1968); novel; treatment of capital punishment; murder; human condition; in Scott, Ridley (1938-): Blade Runner (1982) as film adaptation compared to Kant, Immanuel (1724-1804): Metaphysische Anfangsgründe der Rechtslehre.]

'''1998'''
*Lauritzen, Paul. "The Knowing Heart: Moral Argument and the Appeal to Experience". ''Soundings: An Interdisciplinary Journal'', 81:1-2 (1998 Spring-Summer), pp. 213-34. (Journal article) [Subject Terms: American literature; 1900-1999; Prejean, Helen (1939-): Dead Man Walking (1993); prose; treatment of capital punishment; relationship to morality; experience.]

'''1997'''
* Guest, David. ''Sentenced to Death: The American Novel and Capital Punishment.'' Jackson, MS: UP of Mississippi, 1997. xx, 179 pp. (Book) [Subject Terms: American literature; 1900-1999; novel; treatment of capital punishment.]
*Nayman, Ira. "The Adaptable Altman." ''Creative Screenwriting,'' 4:3 (1997 Fall), pp. 84-96. [Subject Terms: American literature; 1900-1999; Chandler, Raymond (1888-1959): The Long Goodbye (1954); novel; and Tolkin, Michael (1950-): The Player (1988); Carver, Raymond (1936-1988); role of film adaptation; by Altman, Robert (1925-).]

'''1996'''
*Alan Helmreich/ Paul Marcusm, "Dead Man Walking". ''Psychoanalytic Review'', 83:780-782 (1996). [http://www.pep-web.org/document.php?id=PSAR.083.0780A restricted access link]

'''1995'''
*Caroline Moorehead, "Dead man walking" , ''Index on Censorship'', Volume 24, Issue 2 March 1995 , pages 89-95 [http://www.informaworld.com/smpp/content~content=a783393851~db=all restricted access link]

'''1994'''
*Danziger, Marie. "Basic Instinct: Grappling for Post-Modern Mind Control." ''Literature/Film Quarterly,'' 22:1 (1994), pp. 7-10. [Subject Terms: Dramatic arts; film; treatment of power; in Verhoeven, Paul (1938-): Basic Instinct (1992); Altman, Robert (1925-2006): The Player (1992)]
*Pilipp, Frank. "Satirizing Hollywood: The Self-Referentiality of Robert Altman's The Player: Co-Sponsored by the Virginia Humanities Conf. and the Virginia Center for Media and Culture," pp. 80-84. Schwartz, Joel (introd.). ''Proceedings of the Conference on Film and American Culture.'' Williamsburg: Roy R. Charles Center, College of William and Mary, 1994. 111 pp.

'''1992'''
*Richolson, Janice. "The Player: An Interview with Robert Altman." ''Cineaste: America's Leading Magazine on the Art and Politics of the Cinema,''' 19:2-3 (1992), p. 61.

=== Further reading (available at the library) ===

* Amnesty International. ''Todesstrafe in den USA.'' Frankfurt am Main: Fischer-Taschenbuch-Verlag, 1989.

* Bedau, Hugo A. [Hrsg.] ''Capital punishment in the United States.'' New York, N.Y.: AMS Press, 1976. ISBN 0-404-10325-1

* Martschukat, Jürgen. ''Geschichte der Todesstrafe in Nordamerika: von der Kolonialzeit bis zur Gegenwart.'' 1. Ed. München: Beck, 2002. ISBN 3-406-47611-2 (Pb.)

* Sarat, Austin. ''When the State Kills: Capital Punishment and the American Condition.'' New Jersey: Princeton University Press, 2001. (not available at the library)

* Sarat, Austin. ''Crime and punishment: perspectives from the humanities.'' Vol. 37. Amsterdam: Elsevier, 2005. ISBN 0-7623-1245-9 (hbk.)

* Sarat, Austin. ''Punishment politics and culture.'' Vol. 30. Amsterdam: Elsevier, 2004. ISBN 0-7623-1072-3

* Schwed, Roger E. ''Abolition and capital punishment: the United States' judicial, political, and moral barometer.'' New York, N.Y.: AMS Press, 1983. ISBN 0-404-61623-2

====Fiction (additional) ====

* John Grisham, ''The Chamber''. New York: Doubleday, 1994.
* Victor Hugo, ''The Last Day of a Condemned Man'' [1829]. London: Hesperus Press Ltd., 2002.

=== Links ===
* [http://www.film.com/ www.film.com] Movie Trailers and Times, Reviews and Previews, Celebreties, TV, DVD etc.
* [http://elokuvantaju.uiah.fi/2001/english/study_material/study_material.jsp Cinemasense] Study material on cinematic techniques, including a word search for cinematic terms, which are explained and illustrated by film stills.
* [http://www.nitpickers.com/ nitpickers.com] Movie mistakes, movie errors, movie reviews.
* [http://www.filmsite.org/filmterms1.html Cinematic Terms - A Film-Making Glossary] Study material on cinematic terms explained and illustrated by examples.
* [http://en.wikipedia.org/wiki/Capital_punishment_in_the_United_States Capital punishment in the United States] - en.wikipedia.org
* [http://www.deathpenaltyinfo.org/ deathpenaltyinfo.org] Including a [http://www.deathpenaltyinfo.org/article.php?did=132&scid=17 List of Articles] and a [http://www.deathpenaltyinfo.org/article.php?did=130&scid=20 List of Books] on the Death Penalty.
* [http://www.deathpenalty.org/index.php?pid=main&menu=1 deathpenalty.org] "The Death Penalty Focus", an organization against the Death Penalty founded in 1988.
* [http://deathpenaltycurriculum.org/student/c/states/maps/contents.htm deathpenaltycurriculum.org/states/maps] Interactive U.S. maps on the Death Penalty, including methods of execution, homicides and use of the death penalty, and execution on death row inmates (all by state).
* [http://www.deathpenalty.org/pdf_files/CurriculumFeb.2006.pdf deathpenalty.org/pdf_files/curriculum] A pdf file showing suggested lesson plans for teachers. Including case studies, material on discussions, exams and essays, history of the Death Penalty, laws, international views and a suggested general reading list.
* Jonsson, Patrick. "Is self-defence law vigilante justice?". The Christian Science Monitor Feb. 24 2003 <http://www.csmonitor.com/2006/0224/p02s01-usju.html>
* Guarnera, Daniel. "Hard to Kill: Why Can’t the U.S. Find a Suitable Execution Method?". International Review Jan. 4 2007 <http://www.internationalistreview.com/article.php?id=52>
* [http://watchthesimpsonsonline.com/movie/68-The_Simpsons_1321_The_Frying_Game.html The Simpsons 13x21 The Frying Game] Fun Stuff: An episode of "The Simpsons" showing Homer and Marge being accused of murder and sentenced to death, but before Homer's execution on the electric chair, it is revealed that they are actually in a TV-Show called "Frame Up". The episode 'criticises' (in the Simpsons manner) the Realtity Show that presents the Death Penalty as a show for a TV audience. In addition, there is a short reference to "Dead Man Walking" and "The Green Mile".

[[Category:Summer 2008]]
[[Category:Mastermodul]]
[[Category:Capital Punishment]]

User talk:Bastian Martens

2008-06-25T10:02:54Z

Bastian Martens:

Talk:2008 MM Present US-Cinema and the Death Penalty

2008-06-19T17:09:27Z

Bastian Martens: /* Course outline */

__TOC__

==Preliminary considerations==
''Films in which the accidental death of the criminal reestablishes a higher justice''
Was ist mit der Kategorie gemeint? Ich weiß grad' nichts damit anzufangen ; ) LG, [[User:Verena Engelhardt|Verena Engelhardt]] 15:19, 18 February 2008 (CET)
:Ich hätte das Seminar gerne in drei Blöcke geteilt - die letzte Einheit vielleicht 2 Situngen - und dabi zu Filmen, in denen nicht Dirty Harry die schmutzige Arbeit der Exekution übernehmen muß, sondern der Bösewicht sich gleichsam selbst eleminiert. Die Sache hat eine Grauzone zwischen dem Verbrecher, der dem Polizisten gar keine andere die Wahl mehr läßt, als ihn zu erschießen - Notwehr statt Selbstjustiz und dem Verbrecher, der sich selbst richtet, indem er sich erschießt oder gegen seinen Willen abrutscht und in den Tod stürzt. Ich habe da zweitausend Szenen im Kopf, doch fällt mir nicht ein, wo sich das besonders gut zeigt. Ich denke, wenn man darüber nachdenkt, dann findet man, daß in US-amerikanischen Filmen die himmlische Gerechtgkeit öfter die Tötung des Bösewichts erledigt als in deutschen - und das hat mit der Debatte um die Todesstrafe zu tun. Eine Kultur, die empfindet, daß so ein Verbrecher besser nicht überlebt, sieht die Todesstrafe anders... --[[User:Olaf Simons|Olaf Simons]] 15:46, 18 February 2008 (CET)
::Ah, okay. Das finde ich sehr interessant. Da gibt es ja massig Filme in denen der Böse lieber stirbt als ins Gefängnis zu gehen, oder sonstwie zu Tode kommt, bevor er vor ein Gericht gestellt wird - ich denke jetzt zB an "Stirb langsam" - fiele das auch in die Kategorie? (Bin mir nich' sicher). [[User:Verena Engelhardt|Verena Engelhardt]] 15:57, 18 February 2008 (CET)
:::... also, 'Stirb langsam' zB besteht aus folgenden [http://german.imdb.com/title/tt0095016/keywords Plot Keywords] vielleicht ist da was mit dabei...
::::Es gibt sogar ein keyword, das heißt [http://german.imdb.com/keyword/die-hard-scenario/?sort=date Die Hard Scenario]... tse, [[User:Verena Engelhardt|Verena Engelhardt]] 16:36, 18 February 2008 (CET)
:::::''Die Hard'' ist mir an einer Stelle unangenehm im Vergleich, da hier ein Einzelner mit einer ganzen Terrorgruppe abrechnen muß - und sich als nicht totzukriegen erweist. Es geht mir jedoch nicht um Bruce Willis als Katze mit sieben Leben... ansonsten hatte ich an die Serie bereits gedacht. --[[User:Olaf Simons|Olaf Simons]] 16:51, 18 February 2008 (CET)
An welche Filme hast Du denn gedacht? Ich selbst habe einige Filme im Kopf, in denen am Ende der Böse getötet wird oder sich selbst tötet, mit der Variante Held überlebt oder Held stirbt ebenfalls, aber die haben nicht unbedingt mit der Todesstrafe zu tun. Zu welchen Filmen gehören Deine Szenen? Dann könnte ich das für mich selbst mehr eingrenzen... [[User:Verena Engelhardt|Verena Engelhardt]] 22:45, 18 February 2008 (CET)
:Gut sind Filme, die im Genre den Selbstjustiz-Filmen nahekommen - bei denen man sehen kann: hier ist vor allem eins geschehen - der Autor hat es dem Opfer oder Polizisten erspart, sich die Hände schmutzig zu machen. Man kann dann klarer darüber nachdenken, welche Unterschiede es macht, wenn die Sanktion nicht über einen Menschen erfolgt, dem Schicksal oder dem Kriminellen überlassen bleibt. Ich frage mich, was das in der Emotion ändert, die beim Zuschauer bleibt, und will darum möglichst eng an den Plot rangehen, den andere Filme bereits haben. --[[User:Olaf Simons|Olaf Simons]] 10:28, 19 February 2008 (CET)
::Hast Du Filmtitel? [[User:Verena Engelhardt|Verena Engelhardt]] 10:35, 19 February 2008 (CET)
:::Habe nachgedacht. Wie stirbt eigentlich Shinzon in Star Trek X?
:::Ein (Horror-)film, den ich kenne, in dem der Bösewicht am Ende durch "höhere Gewalt" stirbt, ohne dass der Held ihn tötet, ist [http://www.imdb.com/title/tt0295254/ FeardotCom] (2002). Der Film handelt von einer Internetseite, und jeder Besucher dieser Seite stirbt nach 48 Stunden. Ein Polizist und eine Dame vom Gesundheitsamt versuchen, die Morde aufzuklären und sehen sich die Seite an. Sie finden heraus, dass der Geist des erste Opfers des Killers sozusagen "virtuell" weiterlebt und diese Seite kreiert hat, um Rache auszuüben. Am Ende wird der Killer von eben diesem "Geist" getötet.
:::Ich weiß allerdings nicht, ob dieser Film wirklich in Deine Kategorie/Block III reinpasst. Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 16:24, 21 February 2008 (CET) (übrigens ist es Anthony Hopkins, auf dessen Namen wir nicht kamen)
::::An diese Szene - Picard gegen seinen Mutantensohn hatte ich auch gedacht - da ich sie sah, und bereits über das kommende Seminar nachdachte. Der Typ wird aufgespießt, spießt sich selbst auf, da er dem Papi ans Leben will, aber irgendwi macht das Picard auch... typisch dachte ich mir. Von der Gattung paßt's nicht. Der Horrorfilm klingt witzig. Sollte ich mir wohl zulegen. --[[User:Olaf Simons|Olaf Simons]] 16:34, 21 February 2008 (CET)
Ich sehe gerade, dass "Double Jeopardy" nicht auf der Seminarliste steht - vielleicht würde er unter 16.05. passen. 'Lücken': Sie wird angeklagt und verurteilt (ich glaube wegen Totschlags, da die Leiche nicht gefunden wurde), kommt auf Bewährung (wg Gnadengesuch, guter Führung... irgendwie sowas) wieder frei und erschießt (aus Notwehr) am Ende ihren Ex-Mann und kann nicht ein zweites Mal für dieses Verbrechen angeklagt werden, weil sie bereits angeklagt und verurteilt worden ist. Und 'Identity' steht dafür doppelt... [[User:Verena Engelhardt|Verena Engelhardt]] 18:12, 8 March 2008 (CET)

:Meine Gedanken kreisen immer noch um das Thema der filmischen Darstellung, und ob die Filme (im Ggs. zu den Dokus) nicht ein verfälschtes Bild darstellen von Gesetzen, Gerichtsverhandlungen, Verbrechen, Verbrechensbekämpfung, Todesstrafe etc. und ich stelle mir die Frage, ob unser aller Blick auf das Thema durch die Filme nicht verfälscht wird.
:Was lernen wir tatsächlich über das Thema Todesstrafe? Vermischen sich unsere Eindrücke nicht mit den Szenen aus den Filmen? Unser Nachdenken wird durch die Filme verändert und beeinflusst, dabei stellen sie kein reales Bild dar - denn es sind Spielfilme, und Spielfilme haben eine andere "Aufgabe" als Dokus, auch wenn sie "auf wahren Begebenheiten" beruhen. Wenn wir am Ende des Seminars resümieren, inwie weit wird sich unser Nachdenken auf die Filme beziehen? Und es gilt, die Filme kritisch zu sehen! Wie wird das Thema filmisch umgesetzt und dargestellt, wie wird es dramatisiert oder für den Unterhaltungszweck verfremdet?
:Siehe Troja - ein Film, ein "Geschichtsepos", dessen Regisseur es sich erlaubte, geschichtliche Daten zu Gunsten des Filmes und seiner Geschichte zu ändern - und Leute nehmen den Film als Geschichtsunterricht und als "wahr" - "so also war es damals, als die schöne Helena....." Vielleicht wäre es daher auch ratsam, sich nicht nur die Filme, sondern auch die Dokumentationen anzusehen, um eben die Filme kritisch reflektieren zu können, um nicht ihren Inhalt als wahr, real, realistisch oder authentisch zu nehmen und darauf dann unser Nachdenken aufzubauen.
:Abgesehen davon halte ich das auch für zu beschränkt. [[User:Verena Engelhardt|Verena Engelhardt]] 17:40, 13 April 2008 (CEST)
Hallo,

wollte hier nur mal kurz darauf hinweisen, dass der in der Liste aufgeführte "Punisher" ein Remake von 1989 ist (das Original ist allerdings kein Stück besser). Außerdem kann man auf www.imdb.com auch Filme nach plot-keywords suchen, unter anderem nach "poetic justice". http://www.imdb.com/keyword/poetic-justice/
Allerdings befürchte ich, dass die Filmauswahl nicht dem entspricht, was wir suchen. [[User:Jochen Berkowsky|Jochen Berkowsky]] 10:55, 14 April 2008 (CEST)
:So haben wir's natürlich auch gemacht... Poetic Justice ist da ein Stichwort mit dem IMDb nicht gut umgeht... --[[User:Olaf Simons|Olaf Simons]] 11:15, 14 April 2008 (CEST)
::Wahrscheinlich, weil sie das anders definieren und damit anders auflisten. Auf der anderen Seite steht unter dem Stichwort auch "The Green Mile" - und ich überlege gerade, wo da "poetic justice" ist...[[User:Verena Engelhardt|Verena Engelhardt]] 12:18, 14 April 2008 (CEST)
Schätze, da gehts um folgende Szene:
"Paul und seine Kollegen bringen den erschöpften Strafgefangenen wieder in den Todestrakt zurück. Als Percy nach seiner Freilassung an Johns Zelle vorbeigeht, packt ihn dieser plötzlich, bläst ihm etwas in den aufgerissenen Mund und stößt ihn zurück. Percy taumelt, bleibt vor Bills Gitter stehen und feuert auf ihn, bis sein Revolver leer ist. Dann bleibt er entgeistert stehen, bis er abgeführt wird. Er endet apathisch in einer Irrenanstalt.
"Ich habe die beiden bösen Männer bestraft", sagt John." [[User:Jochen Berkowsky|Jochen Berkowsky]] 17:14, 14 April 2008 (CEST)

:Uhm - ich weiß nicht, ob die Simpsons gerechtfertigt sind. Ich fand die Episode lustig, meine mich auch zu erinnern, dass sich die beiden Priester (einer Katholisch, der andere Protestantisch) sich darum streiten, wer zu Homer darf und wer nicht. Wenn es nicht passt und Du es lieber wieder herausnehmen willst, kannst Du es löschen. [[User:Verena Engelhardt|Verena Engelhardt]] 16:40, 23 May 2008 (CEST)

==Course outline==
I have just given a provisional outline of the seminar. Your thoughts are welcome. --[[User:Olaf Simons|Olaf Simons]] 16:52, 25 February 2008 (CET)

:I thought about another great movie, where self-justice is shown: Memento. Though it is not the typical "Death Penalty" movie, it might be interesting to have a look at it. [[User:Philipp Kreutzer|Philipp Kreutzer]]

::I've tried to find "Execution" on DVD, but it's not available anywhere and there is no release date for the European market. Besides, imdb adds this trivia to the movie: ''The movie features a real death row inmate, a real death row warden and a real death row priest playing their respective parts'' - therefore, I would like to remove the movie from the list, because I doubt one could compare a movie that wants to grasp real life in that way to a movie that is totally based on a fictive story (the novel) - that doesn't work (as long as there is no genre discussion included). Maybe we could compare "The Life of David Gale" and "True Crime" as they are both fictive (as far as I know) and both deal with journalists finding the truth etc. (uhm, - and because the film is not available, as I said :-) [[User:Verena Engelhardt|Verena Engelhardt]] 19:52, 4 May 2008 (CEST)

:::Don't remove it - these are the interesting aspects for which the title deserves to be on this list. It is a controversial item - we might add. Yet I realise it will be difficult to get hold of it. (I might ask our American students), --[[User:Olaf Simons|Olaf Simons]] 08:59, 5 May 2008 (CEST)

::::Even if you find someone to purchase the film it might be too late till the 23rd of May (Btw: Are American DVDs playable on a European Computer? Because you can't play them on a European DVD Player) [[User:Verena Engelhardt|Verena Engelhardt]] 09:47, 5 May 2008 (CEST)
::::Plus, I didn't find it on amazon.com either. So the release date on imdb might refer to the release date for cinemas. On the official website you can a leave a message for getting informed when the DVD will be available in your region, country, state, continent... [[User:Verena Engelhardt|Verena Engelhardt]] 09:54, 5 May 2008 (CEST)

:::: Think it can be played on some DvD Players, mine certainly does, never had problems with DvDs from the states.Just my 2 cents. [[User:Jens|Jens]] 19:38, 8 May 2008 (CEST)

:::::As far as I heard the controversy it aroused made things more difficult. Well - let's see. --[[User:Olaf Simons|Olaf Simons]] 10:05, 5 May 2008 (CEST)

I didn't say it was less interesting. If you get it, I would say it deserves a discussion on its own rather than a comparison to "True Crime" - we could replace it with David Gale on May 30 and we talk about David Gale and True Crime - besides, you would have more time to purchase the film... [[User:Verena Engelhardt|Verena Engelhardt]] 11:21, 5 May 2008 (CEST)

:I'm so sorry! It was my fault: If you click on [http://www.imdb.com/title/tt0972554/releaseinfo release info] and the [http://www.executionfilm.com/execution_dot_com/extras.php?pid=1000 official website], you will see that the movie was shown at festivals and at Universities in the US! It's not on DVD yet. I should have checked this more carefully before putting it on the list... [[User:Verena Engelhardt|Verena Engelhardt]] 20:30, 8 May 2008 (CEST)

::Hast Du einen Alternativplan für den 30.05. wenn Du David Gale vorziehst? Und was ist mit "A Time to Kill"? Fällt der jetzt komplett raus? Ist mir aus Deiner Notiz nicht klar geworden. [[User:Verena Engelhardt|Verena Engelhardt]] 11:36, 14 May 2008 (CEST)

Concerning the question whether a genre of Death Penalty Movies really exists:

I've been searching the web for information on films dealing with the topic hoping to find some films which were published BEFORE 'The Player'. This is what I found:

*[http://www.imdb.com/title/tt0007170/ The People vs. John Doe (1916)]
*[http://www.imdb.com/title/tt0009800/ Who shall take my life? (1917)]

*[http://www.imdb.com/title/tt0023524/ Strange justice (1932)]
*[http://www.imdb.com/title/tt0024561/ The sin of Nora Moran (1933)]
*[http://www.imdb.com/title/tt0027335/ Bars of Hate (1935)]
*[http://www.imdb.com/title/tt0027253/ The Accusing Finger (1936)]
*[http://www.imdb.com/title/tt0029658/ They won’t forget (1937)]
*[http://www.imdb.com/title/tt0030303/ Juvenile court (1938)]
*[http://www.imdb.com/title/tt0031126/ Buried Alive (1939)]

*[http://www.imdb.com/title/tt0032245/ Before I hang (1940)]
*[http://www.imdb.com/title/tt0032428/ East Side Kids (1940)]
*[http://www.imdb.com/title/tt0035582/ You can’t escape forever (1942)]
*[http://www.imdb.com/title/tt0037001/ Lady in the Death House (1944)]
*[http://www.imdb.com/title/tt0038722/ The man who dared (1946)]
*[http://www.imdb.com/title/tt0040460/ I wouldn’t be in your Shoes (1948)]

*[http://www.imdb.com/title/tt0044088/ The sun sets at dawn (1950)]
*[http://www.imdb.com/title/tt0049006/ Beyond a reasonable doubt (1956)]: A remake of this film will be published in 2009!
*[http://www.imdb.com/title/tt0049856/ Time without pity (UK, 1957)]
*[http://www.imdb.com/title/tt0051758/ I want to live! (1958)]
*[http://www.imdb.com/title/tt0052700/ Compulsion (1959)]

*[http://www.imdb.com/title/tt0263189/ The Chair (1963)]: Documentary
*[http://www.imdb.com/title/tt0061809/ In cold blood (1967)]

*[http://www.imdb.com/title/tt0066730/ 10 Rillington Place (UK, 1971)]
*[http://www.imdb.com/title/tt0069384/ To encourage the others (UK, 1972)]
*[http://www.imdb.com/title/tt0070782/ Terminal Island (1973)] (pro death penalty?)
*[http://www.imdb.com/title/tt0076262/ Kill me if you can (1977)]
*[http://www.imdb.com/title/tt0079668/ The onion field (1979)]: based on 1973 non-fiction book, written by LAPD Officer Joseph Wambaugh.

*[http://www.imdb.com/title/tt0083909/ The Executioner's Song (1982)] (pro death penalty?)
*[http://www.imdb.com/title/tt0086356/ The Star Chamber (1983)]: there probably will also be a remake in 2009.
*[http://www.imdb.com/title/tt0084867/ Vigilante (1983)] (pro death penalty?)
*[http://www.imdb.com/title/tt0085398/ Daniel (1983)]
*[http://www.imdb.com/title/tt0089111/ The execution of Raymond Graham (1985)]: TV production
*[http://www.imdb.com/title/tt0092858/ Death of a Soldier (1986)]: DP as political instrument
*[http://www.imdb.com/title/tt0096257/ The thin blue line (1988)]
*[http://www.imdb.com/title/tt0095958/ Rampage (1988)] (pro death penalty?)

*[http://www.imdb.com/title/tt0100797/ Too young to die? (1990)]: TV production
*[http://www.imdb.com/title/tt0102984/ Stone Cold (1991)]
*[http://www.imdb.com/title/tt0105151/ The Player (1992)]
*[http://www.imdb.com/title/tt0104952/ My cousin Vinny (1992)]
*[http://www.imdb.com/title/tt0104744/ Live! From Death Row (1992)]: TV production
*[http://www.imdb.com/title/tt0104502/ In the shadow of a killer (1992)]: TV production
*[http://www.imdb.com/title/tt0106398/ Better off dead (1993)]: TV production
*[http://www.imdb.com/title/tt0106977/ The Fugitive (1993)]: based on a 1963 TV series.
*[http://www.imdb.com/title/tt0112818/ Dead Man Walking (1995)]
*[http://www.imdb.com/title/tt0116827/ Last Dance (1996)]
*[http://www.imdb.com/title/tt0117913/ A Time to kill (1996)]
*[http://www.imdb.com/title/tt0115862/ The chamber (1996)]: based on a novel by John Grisham
*[http://www.imdb.com/title/tt0119728/ Mumia Abu-Jamal: A case for reasonable doubt? (1997)]: documentary
*[http://www.imdb.com/title/tt0154467/ Evidence of blood (1998)]: TV production
*[http://www.imdb.com/title/tt0120901/ Wrongfully accused (1998)]
*[http://www.imdb.com/title/tt0164082/ Last Rites (1998)]: TV production
*[http://www.imdb.com/title/tt0179940/ A lesson before dying (1999)]: TV production
*[http://www.imdb.com/title/tt0139668/ True Crime (1999)]

*[http://www.imdb.com/title/tt0233535/ Deadlocked (2000)]: TV production
*[http://www.imdb.com/title/tt0294514/ Deathrow (2000)]
*[http://www.imdb.com/title/tt0297918/ God and the Death Penalty (2000)]: documentary
*[http://www.imdb.com/title/tt0285742/ Monster's Ball (2001)]
*[http://www.imdb.com/title/tt0827211/ Thanatos Rx: The Death Penalty Debate in America (2001)]: Documentary
*[http://www.imdb.com/title/tt0294918/ Shot in the heart (2001)]: TV production
*[http://www.imdb.com/title/tt0303282/ The execution of Wanda Jean (2002)]
*[http://www.imdb.com/title/tt0309698/ Identity (2003)]
*[http://www.imdb.com/title/tt0289992/ The Life of David Gale (2003)]
*[http://www.imdb.com/title/tt0340855/ Monster (2003)] (pro death penalty?)
*[http://www.imdb.com/title/tt0388367/ Redemption: The Stan Tookie Williams Story (2004)]
*[http://www.imdb.com/title/tt0374584/ Control (2004)]
*[http://www.imdb.com/title/tt0398326/ Shock act (2004)]
*[http://www.imdb.com/title/tt0435181/ Manners of dying (2004)]
*[http://www.imdb.com/title/tt0396190/ Return to sender (2004)]
*[http://www.imdb.com/title/tt0493347/ Fighting for life in the death-belt (2005)]: documentary
*[http://www.imdb.com/title/tt0379725/ Capote (2005)]: tells the story how Truman Capote came to write "In cold blood" (1967)
*[http://www.imdb.com/title/tt0889677/ Willie Francis must die again (2006)]
*[http://www.imdb.com/title/tt0420609/ Infamous (2006)]: another film about Truman Capote and the production of "In cold blood"
*[http://www.imdb.com/title/tt0383478/ Love comes to the Executioner (2006)]
*[http://www.imdb.com/title/tt0411061/ 88 minutes (2007)]
*[http://www.imdb.com/title/tt0972554/ Execution (2007)]
*[http://www.imdb.com/title/tt1227785/ The life penalty (2008)]

*[http://www.imdb.com/title/tt0079761/ Le Pull-over Rouge (France, 1979)]: A French film about a true story which interestingly played an important part in the abolition of the Death Penalty in France in 1981!
*[http://www.imdb.com/title/tt0102288/ Let him have it (UK, 1991)]
*[http://www.imdb.com/title/tt0107381/ Legal Memory (Canada, 1992)]
*[http://www.imdb.com/title/tt0150490/ Executions (UK, 1995)]: documentary
*[http://www.imdb.com/title/tt0168629/ Dancer in the Dark (Europe, 2000)]
*[http://www.imdb.com/title/tt0312756/ Henker – Der Tod hat ein Gesicht (D, 2002)]

I've spent some time on IMDB to update the list and, as you can see, it's become quite long, must be some eighty films now if I'm not mistaken. I went through the 125 results of "capital punishment" and through the 75 results of "death penalty". However, I stopped searching when the search engine offered 571 results for "execution"... In my opinion, the question of a genre of death penalty movies is answered. However, one could think about a concise definition or even sub-categories... --[[User:Bastian Martens|Bastian Martens]] 19:09, 19 June 2008 (CEST)

see also:
*[http://faculty.law.lsu.edu/ccorcos/lawhum/CAPITALPUNISHMENT.htm Death Penalty in Popular Culture]
*[http://library.thinkquest.org/23685/data/filming.html Death Penalty - A Filmography]: a somewhat outdated page - it ends with Dead Man Walking - but still interesting for it offers some films before that, also quite a few European films, which I did not include in this list.

:Thanks for the list and links! Some of them look like the films one has in ones mind - black and white films of the 1950s - fascinating... --[[User:Olaf Simons|Olaf Simons]] 20:59, 5 June 2008 (CEST)

::I find the genre idea somehow intriguing, so I continued browsing through IMDB and still found more films, some old ones, quite a few TV productions... I think I'll update the list next week. One thing I can say in advance: it's the same story again and again: someone is on death row for a crime he or she didn't commit and someone else is trying to prove his or her innocence only a few days or hours before the execution... --[[User:Bastian Martens|Bastian Martens]] 11:59, 6 June 2008 (CEST)

==Topics for seminar papers==
Open sections and discuss your ideas.

* The discussion on the (possible) genre.
:Is there a genre called "Death Penalty" or a concept similar to a genre? I would like to take a look at other genres (but focus on one) and their development, since genres like "horror" and "action" did not exist since the very beginning of cinema. The best known genres have (cinematic, structural, narrative…) elements that are characteristic of them and that constitute them. If there are similar elements in films on the Death Penalty, I assume there might be a genre (or concept, the way these films are 'contrived', 'designed', 'fabricated' etc.). I would like to take a look at the ‘Genre Theory’ and ‘Genresynkretismus’.

:Personally, I still think there is no genre, but rather a topic that is “narrated” and “designed” in a way that charaterises it (...even that might be very interesting); films containing re-appearing elements. I would like to (dis)prove this thesis (of a genre). I’m not quite sure yet which opinion I will state in my paper (if I will write one). [[User:Verena Engelhardt|Verena Engelhardt]] 20:26, 15 June 2008 (CEST)

Talk:2008 MM Present US-Cinema and the Death Penalty

2008-06-19T14:44:00Z

Bastian Martens: /* Course outline */

__TOC__

==Preliminary considerations==
''Films in which the accidental death of the criminal reestablishes a higher justice''
Was ist mit der Kategorie gemeint? Ich weiß grad' nichts damit anzufangen ; ) LG, [[User:Verena Engelhardt|Verena Engelhardt]] 15:19, 18 February 2008 (CET)
:Ich hätte das Seminar gerne in drei Blöcke geteilt - die letzte Einheit vielleicht 2 Situngen - und dabi zu Filmen, in denen nicht Dirty Harry die schmutzige Arbeit der Exekution übernehmen muß, sondern der Bösewicht sich gleichsam selbst eleminiert. Die Sache hat eine Grauzone zwischen dem Verbrecher, der dem Polizisten gar keine andere die Wahl mehr läßt, als ihn zu erschießen - Notwehr statt Selbstjustiz und dem Verbrecher, der sich selbst richtet, indem er sich erschießt oder gegen seinen Willen abrutscht und in den Tod stürzt. Ich habe da zweitausend Szenen im Kopf, doch fällt mir nicht ein, wo sich das besonders gut zeigt. Ich denke, wenn man darüber nachdenkt, dann findet man, daß in US-amerikanischen Filmen die himmlische Gerechtgkeit öfter die Tötung des Bösewichts erledigt als in deutschen - und das hat mit der Debatte um die Todesstrafe zu tun. Eine Kultur, die empfindet, daß so ein Verbrecher besser nicht überlebt, sieht die Todesstrafe anders... --[[User:Olaf Simons|Olaf Simons]] 15:46, 18 February 2008 (CET)
::Ah, okay. Das finde ich sehr interessant. Da gibt es ja massig Filme in denen der Böse lieber stirbt als ins Gefängnis zu gehen, oder sonstwie zu Tode kommt, bevor er vor ein Gericht gestellt wird - ich denke jetzt zB an "Stirb langsam" - fiele das auch in die Kategorie? (Bin mir nich' sicher). [[User:Verena Engelhardt|Verena Engelhardt]] 15:57, 18 February 2008 (CET)
:::... also, 'Stirb langsam' zB besteht aus folgenden [http://german.imdb.com/title/tt0095016/keywords Plot Keywords] vielleicht ist da was mit dabei...
::::Es gibt sogar ein keyword, das heißt [http://german.imdb.com/keyword/die-hard-scenario/?sort=date Die Hard Scenario]... tse, [[User:Verena Engelhardt|Verena Engelhardt]] 16:36, 18 February 2008 (CET)
:::::''Die Hard'' ist mir an einer Stelle unangenehm im Vergleich, da hier ein Einzelner mit einer ganzen Terrorgruppe abrechnen muß - und sich als nicht totzukriegen erweist. Es geht mir jedoch nicht um Bruce Willis als Katze mit sieben Leben... ansonsten hatte ich an die Serie bereits gedacht. --[[User:Olaf Simons|Olaf Simons]] 16:51, 18 February 2008 (CET)
An welche Filme hast Du denn gedacht? Ich selbst habe einige Filme im Kopf, in denen am Ende der Böse getötet wird oder sich selbst tötet, mit der Variante Held überlebt oder Held stirbt ebenfalls, aber die haben nicht unbedingt mit der Todesstrafe zu tun. Zu welchen Filmen gehören Deine Szenen? Dann könnte ich das für mich selbst mehr eingrenzen... [[User:Verena Engelhardt|Verena Engelhardt]] 22:45, 18 February 2008 (CET)
:Gut sind Filme, die im Genre den Selbstjustiz-Filmen nahekommen - bei denen man sehen kann: hier ist vor allem eins geschehen - der Autor hat es dem Opfer oder Polizisten erspart, sich die Hände schmutzig zu machen. Man kann dann klarer darüber nachdenken, welche Unterschiede es macht, wenn die Sanktion nicht über einen Menschen erfolgt, dem Schicksal oder dem Kriminellen überlassen bleibt. Ich frage mich, was das in der Emotion ändert, die beim Zuschauer bleibt, und will darum möglichst eng an den Plot rangehen, den andere Filme bereits haben. --[[User:Olaf Simons|Olaf Simons]] 10:28, 19 February 2008 (CET)
::Hast Du Filmtitel? [[User:Verena Engelhardt|Verena Engelhardt]] 10:35, 19 February 2008 (CET)
:::Habe nachgedacht. Wie stirbt eigentlich Shinzon in Star Trek X?
:::Ein (Horror-)film, den ich kenne, in dem der Bösewicht am Ende durch "höhere Gewalt" stirbt, ohne dass der Held ihn tötet, ist [http://www.imdb.com/title/tt0295254/ FeardotCom] (2002). Der Film handelt von einer Internetseite, und jeder Besucher dieser Seite stirbt nach 48 Stunden. Ein Polizist und eine Dame vom Gesundheitsamt versuchen, die Morde aufzuklären und sehen sich die Seite an. Sie finden heraus, dass der Geist des erste Opfers des Killers sozusagen "virtuell" weiterlebt und diese Seite kreiert hat, um Rache auszuüben. Am Ende wird der Killer von eben diesem "Geist" getötet.
:::Ich weiß allerdings nicht, ob dieser Film wirklich in Deine Kategorie/Block III reinpasst. Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 16:24, 21 February 2008 (CET) (übrigens ist es Anthony Hopkins, auf dessen Namen wir nicht kamen)
::::An diese Szene - Picard gegen seinen Mutantensohn hatte ich auch gedacht - da ich sie sah, und bereits über das kommende Seminar nachdachte. Der Typ wird aufgespießt, spießt sich selbst auf, da er dem Papi ans Leben will, aber irgendwi macht das Picard auch... typisch dachte ich mir. Von der Gattung paßt's nicht. Der Horrorfilm klingt witzig. Sollte ich mir wohl zulegen. --[[User:Olaf Simons|Olaf Simons]] 16:34, 21 February 2008 (CET)
Ich sehe gerade, dass "Double Jeopardy" nicht auf der Seminarliste steht - vielleicht würde er unter 16.05. passen. 'Lücken': Sie wird angeklagt und verurteilt (ich glaube wegen Totschlags, da die Leiche nicht gefunden wurde), kommt auf Bewährung (wg Gnadengesuch, guter Führung... irgendwie sowas) wieder frei und erschießt (aus Notwehr) am Ende ihren Ex-Mann und kann nicht ein zweites Mal für dieses Verbrechen angeklagt werden, weil sie bereits angeklagt und verurteilt worden ist. Und 'Identity' steht dafür doppelt... [[User:Verena Engelhardt|Verena Engelhardt]] 18:12, 8 March 2008 (CET)

:Meine Gedanken kreisen immer noch um das Thema der filmischen Darstellung, und ob die Filme (im Ggs. zu den Dokus) nicht ein verfälschtes Bild darstellen von Gesetzen, Gerichtsverhandlungen, Verbrechen, Verbrechensbekämpfung, Todesstrafe etc. und ich stelle mir die Frage, ob unser aller Blick auf das Thema durch die Filme nicht verfälscht wird.
:Was lernen wir tatsächlich über das Thema Todesstrafe? Vermischen sich unsere Eindrücke nicht mit den Szenen aus den Filmen? Unser Nachdenken wird durch die Filme verändert und beeinflusst, dabei stellen sie kein reales Bild dar - denn es sind Spielfilme, und Spielfilme haben eine andere "Aufgabe" als Dokus, auch wenn sie "auf wahren Begebenheiten" beruhen. Wenn wir am Ende des Seminars resümieren, inwie weit wird sich unser Nachdenken auf die Filme beziehen? Und es gilt, die Filme kritisch zu sehen! Wie wird das Thema filmisch umgesetzt und dargestellt, wie wird es dramatisiert oder für den Unterhaltungszweck verfremdet?
:Siehe Troja - ein Film, ein "Geschichtsepos", dessen Regisseur es sich erlaubte, geschichtliche Daten zu Gunsten des Filmes und seiner Geschichte zu ändern - und Leute nehmen den Film als Geschichtsunterricht und als "wahr" - "so also war es damals, als die schöne Helena....." Vielleicht wäre es daher auch ratsam, sich nicht nur die Filme, sondern auch die Dokumentationen anzusehen, um eben die Filme kritisch reflektieren zu können, um nicht ihren Inhalt als wahr, real, realistisch oder authentisch zu nehmen und darauf dann unser Nachdenken aufzubauen.
:Abgesehen davon halte ich das auch für zu beschränkt. [[User:Verena Engelhardt|Verena Engelhardt]] 17:40, 13 April 2008 (CEST)
Hallo,

wollte hier nur mal kurz darauf hinweisen, dass der in der Liste aufgeführte "Punisher" ein Remake von 1989 ist (das Original ist allerdings kein Stück besser). Außerdem kann man auf www.imdb.com auch Filme nach plot-keywords suchen, unter anderem nach "poetic justice". http://www.imdb.com/keyword/poetic-justice/
Allerdings befürchte ich, dass die Filmauswahl nicht dem entspricht, was wir suchen. [[User:Jochen Berkowsky|Jochen Berkowsky]] 10:55, 14 April 2008 (CEST)
:So haben wir's natürlich auch gemacht... Poetic Justice ist da ein Stichwort mit dem IMDb nicht gut umgeht... --[[User:Olaf Simons|Olaf Simons]] 11:15, 14 April 2008 (CEST)
::Wahrscheinlich, weil sie das anders definieren und damit anders auflisten. Auf der anderen Seite steht unter dem Stichwort auch "The Green Mile" - und ich überlege gerade, wo da "poetic justice" ist...[[User:Verena Engelhardt|Verena Engelhardt]] 12:18, 14 April 2008 (CEST)
Schätze, da gehts um folgende Szene:
"Paul und seine Kollegen bringen den erschöpften Strafgefangenen wieder in den Todestrakt zurück. Als Percy nach seiner Freilassung an Johns Zelle vorbeigeht, packt ihn dieser plötzlich, bläst ihm etwas in den aufgerissenen Mund und stößt ihn zurück. Percy taumelt, bleibt vor Bills Gitter stehen und feuert auf ihn, bis sein Revolver leer ist. Dann bleibt er entgeistert stehen, bis er abgeführt wird. Er endet apathisch in einer Irrenanstalt.
"Ich habe die beiden bösen Männer bestraft", sagt John." [[User:Jochen Berkowsky|Jochen Berkowsky]] 17:14, 14 April 2008 (CEST)

:Uhm - ich weiß nicht, ob die Simpsons gerechtfertigt sind. Ich fand die Episode lustig, meine mich auch zu erinnern, dass sich die beiden Priester (einer Katholisch, der andere Protestantisch) sich darum streiten, wer zu Homer darf und wer nicht. Wenn es nicht passt und Du es lieber wieder herausnehmen willst, kannst Du es löschen. [[User:Verena Engelhardt|Verena Engelhardt]] 16:40, 23 May 2008 (CEST)

==Course outline==
I have just given a provisional outline of the seminar. Your thoughts are welcome. --[[User:Olaf Simons|Olaf Simons]] 16:52, 25 February 2008 (CET)

:I thought about another great movie, where self-justice is shown: Memento. Though it is not the typical "Death Penalty" movie, it might be interesting to have a look at it. [[User:Philipp Kreutzer|Philipp Kreutzer]]

::I've tried to find "Execution" on DVD, but it's not available anywhere and there is no release date for the European market. Besides, imdb adds this trivia to the movie: ''The movie features a real death row inmate, a real death row warden and a real death row priest playing their respective parts'' - therefore, I would like to remove the movie from the list, because I doubt one could compare a movie that wants to grasp real life in that way to a movie that is totally based on a fictive story (the novel) - that doesn't work (as long as there is no genre discussion included). Maybe we could compare "The Life of David Gale" and "True Crime" as they are both fictive (as far as I know) and both deal with journalists finding the truth etc. (uhm, - and because the film is not available, as I said :-) [[User:Verena Engelhardt|Verena Engelhardt]] 19:52, 4 May 2008 (CEST)

:::Don't remove it - these are the interesting aspects for which the title deserves to be on this list. It is a controversial item - we might add. Yet I realise it will be difficult to get hold of it. (I might ask our American students), --[[User:Olaf Simons|Olaf Simons]] 08:59, 5 May 2008 (CEST)

::::Even if you find someone to purchase the film it might be too late till the 23rd of May (Btw: Are American DVDs playable on a European Computer? Because you can't play them on a European DVD Player) [[User:Verena Engelhardt|Verena Engelhardt]] 09:47, 5 May 2008 (CEST)
::::Plus, I didn't find it on amazon.com either. So the release date on imdb might refer to the release date for cinemas. On the official website you can a leave a message for getting informed when the DVD will be available in your region, country, state, continent... [[User:Verena Engelhardt|Verena Engelhardt]] 09:54, 5 May 2008 (CEST)

:::: Think it can be played on some DvD Players, mine certainly does, never had problems with DvDs from the states.Just my 2 cents. [[User:Jens|Jens]] 19:38, 8 May 2008 (CEST)

:::::As far as I heard the controversy it aroused made things more difficult. Well - let's see. --[[User:Olaf Simons|Olaf Simons]] 10:05, 5 May 2008 (CEST)

I didn't say it was less interesting. If you get it, I would say it deserves a discussion on its own rather than a comparison to "True Crime" - we could replace it with David Gale on May 30 and we talk about David Gale and True Crime - besides, you would have more time to purchase the film... [[User:Verena Engelhardt|Verena Engelhardt]] 11:21, 5 May 2008 (CEST)

:I'm so sorry! It was my fault: If you click on [http://www.imdb.com/title/tt0972554/releaseinfo release info] and the [http://www.executionfilm.com/execution_dot_com/extras.php?pid=1000 official website], you will see that the movie was shown at festivals and at Universities in the US! It's not on DVD yet. I should have checked this more carefully before putting it on the list... [[User:Verena Engelhardt|Verena Engelhardt]] 20:30, 8 May 2008 (CEST)

::Hast Du einen Alternativplan für den 30.05. wenn Du David Gale vorziehst? Und was ist mit "A Time to Kill"? Fällt der jetzt komplett raus? Ist mir aus Deiner Notiz nicht klar geworden. [[User:Verena Engelhardt|Verena Engelhardt]] 11:36, 14 May 2008 (CEST)

Concerning the question whether a genre of Death Penalty Movies really exists:

I've been searching the web for information on films dealing with the topic hoping to find some films which were published BEFORE 'The Player'. This is what I found:

*[http://www.imdb.com/title/tt0007170/ The People vs. John Doe (1916)]
*[http://www.imdb.com/title/tt0009800/ Who shall take my life? (1917)]

*[http://www.imdb.com/title/tt0023524/ Strange justice (1932)]
*[http://www.imdb.com/title/tt0024561/ The sin of Nora Moran (1933)]
*[http://www.imdb.com/title/tt0027335/ Bars of Hate (1935)]
*[http://www.imdb.com/title/tt0027253/ The Accusing Finger (1936)]
*[http://www.imdb.com/title/tt0029658/ They won’t forget (1937)]
*[http://www.imdb.com/title/tt0030303/ Juvenile court (1938)]
*[http://www.imdb.com/title/tt0031126/ Buried Alive (1939)]

*[http://www.imdb.com/title/tt0032245/ Before I hang (1940)]
*[http://www.imdb.com/title/tt0032428/ East Side Kids (1940)]
*[http://www.imdb.com/title/tt0035582/ You can’t escape forever (1942)]
*[http://www.imdb.com/title/tt0037001/ Lady in the Death House (1944)]
*[http://www.imdb.com/title/tt0038722/ The man who dared (1946)]
*[http://www.imdb.com/title/tt0040460/ I wouldn’t be in your Shoes (1948)]

*[http://www.imdb.com/title/tt0044088/ The sun sets at dawn (1950)]
*[http://www.imdb.com/title/tt0049006/ Beyond a reasonable doubt (1956)]: A remake of this film will be published in 2009!
*[http://www.imdb.com/title/tt0049856/ Time without pity (UK, 1957)]
*[http://www.imdb.com/title/tt0051758/ I want to live! (1958)]
*[http://www.imdb.com/title/tt0052700/ Compulsion (1959)]

*[http://www.imdb.com/title/tt0263189/ The Chair (1963)]: Documentary
*[http://www.imdb.com/title/tt0061809/ In cold blood (1967)]

*[http://www.imdb.com/title/tt0066730/ 10 Rillington Place (UK, 1971)]
*[http://www.imdb.com/title/tt0069384/ To encourage the others (UK, 1972)]
*[http://www.imdb.com/title/tt0070782/ Terminal Island (1973)] (pro death penalty?)
*[http://www.imdb.com/title/tt0076262/ Kill me if you can (1977)]
*[http://www.imdb.com/title/tt0079668/ The onion field (1979)]: based on 1973 non-fiction book, written by LAPD Officer Joseph Wambaugh.

*[http://www.imdb.com/title/tt0083909/ The Executioner's Song (1982)] (pro death penalty?)
*[http://www.imdb.com/title/tt0086356/ The Star Chamber (1983)]: there probably will also be a remake in 2009.
*[http://www.imdb.com/title/tt0084867/ Vigilante (1983)] (pro death penalty?)
*[http://www.imdb.com/title/tt0085398/ Daniel (1983)]
*[http://www.imdb.com/title/tt0089111/ The execution of Raymond Graham (1985)]: TV production
*[http://www.imdb.com/title/tt0092858/ Death of a Soldier (1986)]: DP as political instrument
*[http://www.imdb.com/title/tt0096257/ The thin blue line (1988)]
*[http://www.imdb.com/title/tt0095958/ Rampage (1988)] (pro death penalty?)

*[http://www.imdb.com/title/tt0100797/ Too young to die? (1990)]: TV production
*[http://www.imdb.com/title/tt0102984/ Stone Cold (1991)]
*[http://www.imdb.com/title/tt0105151/ The Player (1992)]
*[http://www.imdb.com/title/tt0104952/ My cousin Vinny (1992)]
*[http://www.imdb.com/title/tt0104744/ Live! From Death Row (1992)]: TV production
*[http://www.imdb.com/title/tt0104502/ In the shadow of a killer (1992)]: TV production
*[http://www.imdb.com/title/tt0106398/ Better off dead (1993)]: TV production
*[http://www.imdb.com/title/tt0106977/ The Fugitive (1993)]: based on a 1963 TV series.
*[http://www.imdb.com/title/tt0112818/ Dead Man Walking (1995)]
*[http://www.imdb.com/title/tt0116827/ Last Dance (1996)]
*[http://www.imdb.com/title/tt0117913/ A Time to kill (1996)]
*[http://www.imdb.com/title/tt0115862/ The chamber (1996)]: based on a novel by John Grisham
*[http://www.imdb.com/title/tt0119728/ Mumia Abu-Jamal: A case for reasonable doubt? (1997)]: documentary
*[http://www.imdb.com/title/tt0154467/ Evidence of blood (1998)]: TV production
*[http://www.imdb.com/title/tt0120901/ Wrongfully accused (1998)]
*[http://www.imdb.com/title/tt0164082/ Last Rites (1998)]: TV production
*[http://www.imdb.com/title/tt0179940/ A lesson before dying (1999)]: TV production
*[http://www.imdb.com/title/tt0139668/ True Crime (1999)]

*[http://www.imdb.com/title/tt0233535/ Deadlocked (2000)]: TV production
*[http://www.imdb.com/title/tt0294514/ Deathrow (2000)]
*[http://www.imdb.com/title/tt0297918/ God and the Death Penalty (2000)]: documentary
*[http://www.imdb.com/title/tt0285742/ Monster's Ball (2001)]
*[http://www.imdb.com/title/tt0827211/ Thanatos Rx: The Death Penalty Debate in America (2001)]: Documentary
*[http://www.imdb.com/title/tt0294918/ Shot in the heart (2001)]: TV production
*[http://www.imdb.com/title/tt0303282/ The execution of Wanda Jean (2002)]
*[http://www.imdb.com/title/tt0309698/ Identity (2003)]
*[http://www.imdb.com/title/tt0289992/ The Life of David Gale (2003)]
*[http://www.imdb.com/title/tt0340855/ Monster (2003)] (pro death penalty?)
*[http://www.imdb.com/title/tt0388367/ Redemption: The Stan Tookie Williams Story (2004)]
*[http://www.imdb.com/title/tt0374584/ Control (2004)]
*[http://www.imdb.com/title/tt0398326/ Shock act (2004)]
*[http://www.imdb.com/title/tt0435181/ Manners of dying (2004)]
*[http://www.imdb.com/title/tt0396190/ Return to sender (2004)]
*[http://www.imdb.com/title/tt0493347/ Fighting for life in the death-belt (2005)]: documentary
*[http://www.imdb.com/title/tt0379725/ Capote (2005)]: tells the story how Truman Capote came to write "In cold blood" (1967)
*[http://www.imdb.com/title/tt0889677/ Willie Francis must die again (2006)]
*[http://www.imdb.com/title/tt0420609/ Infamous (2006)]: another film about Truman Capote and the production of "In cold blood"
*[http://www.imdb.com/title/tt0383478/ Love comes to the Executioner (2006)]
*[http://www.imdb.com/title/tt0411061/ 88 minutes (2007)]
*[http://www.imdb.com/title/tt0972554/ Execution (2007)]
*[http://www.imdb.com/title/tt1227785/ The life penalty (2008)]

*[http://www.imdb.com/title/tt0079761/ Le Pull-over Rouge (France, 1979)]: A French film about a true story which interestingly played an important part in the abolition of the Death Penalty in France in 1981!
*[http://www.imdb.com/title/tt0102288/ Let him have it (UK, 1991)]
*[http://www.imdb.com/title/tt0107381/ Legal Memory (Canada, 1992)]
*[http://www.imdb.com/title/tt0150490/ Executions (UK, 1995)]: documentary
*[http://www.imdb.com/title/tt0168629/ Dancer in the Dark (Europe, 2000)]
*[http://www.imdb.com/title/tt0312756/ Henker – Der Tod hat ein Gesicht (D, 2002)]

I've spent some time on IMDB to update the list and, as you can see, it's become quite long, must be some eighty films now if I'm not mistaken. I went through the 125 results of "capital punishment" and through the 75 results of "death penalty". However, I stopped searching when the search engine offered 571 results for "execution"... In my opinion, the question of a genre of death penalty movies is answered. However, one could think about a concise definition or even sub-categories...

see also:
*[http://faculty.law.lsu.edu/ccorcos/lawhum/CAPITALPUNISHMENT.htm Death Penalty in Popular Culture]
*[http://library.thinkquest.org/23685/data/filming.html Death Penalty - A Filmography]: a somewhat outdated page - it ends with Dead Man Walking - but still interesting for it offers some films before that, also quite a few European films, which I did not include in this list.

:Thanks for the list and links! Some of them look like the films one has in ones mind - black and white films of the 1950s - fascinating... --[[User:Olaf Simons|Olaf Simons]] 20:59, 5 June 2008 (CEST)

::I find the genre idea somehow intriguing, so I continued browsing through IMDB and still found more films, some old ones, quite a few TV productions... I think I'll update the list next week. One thing I can say in advance: it's the same story again and again: someone is on death row for a crime he or she didn't commit and someone else is trying to prove his or her innocence only a few days or hours before the execution... --[[User:Bastian Martens|Bastian Martens]] 11:59, 6 June 2008 (CEST)

==Topics for seminar papers==
Open sections and discuss your ideas.

* The discussion on the (possible) genre.
:Is there a genre called "Death Penalty" or a concept similar to a genre? I would like to take a look at other genres (but focus on one) and their development, since genres like "horror" and "action" did not exist since the very beginning of cinema. The best known genres have (cinematic, structural, narrative…) elements that are characteristic of them and that constitute them. If there are similar elements in films on the Death Penalty, I assume there might be a genre (or concept, the way these films are 'contrived', 'designed', 'fabricated' etc.). I would like to take a look at the ‘Genre Theory’ and ‘Genresynkretismus’.

:Personally, I still think there is no genre, but rather a topic that is “narrated” and “designed” in a way that charaterises it (...even that might be very interesting); films containing re-appearing elements. I would like to (dis)prove this thesis (of a genre). I’m not quite sure yet which opinion I will state in my paper (if I will write one). [[User:Verena Engelhardt|Verena Engelhardt]] 20:26, 15 June 2008 (CEST)

2008 MM Present US-Cinema and the Death Penalty

2008-06-19T08:22:52Z

Bastian Martens: /* Documentary films (German/additional/available at the university library) */

{|align=right width=350px style="margin-left:40px;margin-bottom:30px" cellpadding="20"
|bgcolor=#F4FED8|

'''Wednesday, June 18, 21.30, my place, Tannenkampstr. 12'''

* [http://en.wikipedia.org/wiki/A_Time_to_Kill_(film) ''A Time to Kill''] (1996) based on the novel written by John Grisham. A father takes revenge on the rapists of his daughter. [http://www.imdb.com/title/tt0117913/ IMDb]

(you supply drink, I'll supply food), --[[User:Olaf Simons|Olaf Simons]] 16:20, 30 May 2008 (CEST)

----

One more thing: I opened a second Handapparat for books with basic titles of film analysis - the collection is not yet complete as I had to order a number of these titles for acquisition. (You may also visit the Landesbibliothek for books on capital punishment).
|}
* Fr 14 - 16
* A10 1-121a
* [[User:Olaf Simons|Olaf Simons]]
*[[Mastermodul]] Klausurvorbereitend: American Studies

The implementation of the death penalty is one of the major cultural differences between the US and Europe today. A number of movies have over the past two decades dealt with, if not effectively fuelled, the public controversy about capital punishment. The seminar will analyse and discuss some of these films against the background of the present debate and in a comparison with movies in which vigilante or self-administered justice and poetic justice create a form of capital punishment - more or less provocatively - beyond the reach of the public debate.

==April 11: Introduction==
Discussion of the seminar plan and modes of participation.

==April 18: Emotional imbalances: ''Dead Man Walking'' (1995)==
* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995)
Plot line, emotional balance, sympathies and how they are created, political messages.

==April 25: The reception of ''Dead Man Walking'' (1995)==
'''Wednesday, 23, 2008, 20:45''' my place, Tannenkampstr. 12: Krzysztof Kieslowski, Ein kurzer Film über das Töten (Poland 1988) [http://de.wikipedia.org/wiki/Ein_kurzer_Film_%C3%BCber_das_T%C3%B6ten German wikipedia]

'''Course preparation'''

''Dead Man Walking'' (1995) as an influential film - debates it managed to raise, debates which just joined the ongoing debate. We need a presentation on the reception history of the film (worth an ensuing seminar paper).

We will have three short presentations on the death penalty focussing on its more ore less "humane" modalities
*Antje + Marie Katrin: A historical perspective. Background: Michel Foucault ''Discipline and Punish'' (1975). See [http://en.wikipedia.org/wiki/Discipline_and_Punish wikipedia] on the subject and read the first pages of the book which should be available in the library (you may refer to the German translation ''Überwachen und Strafen''). Another good book on the subject is Cesare Beccaria's (1738-1794) ''Of Crimes and Punishments'', available on the web in English: [http://www.constitution.org/cb/crim_pun.htm ''Of Crimes and Punishments'' (1764)].
*Philipp promised to take a look at the present US-debate - a good starting point is again [http://en.wikipedia.org/wiki/Capital_punishment_in_the_United_States wikipedia] where you will find a chapter on methods used in the US.
*Jochen: will take a look at the general debate of humane executions. A good starting point are the links you get if you google Michael Portillo on the subject [http://www.google.com/search?num=100&hl=en&newwindow=1&safe=off&q=%22Michael+Portillo%22+%22humane+execution%22&btnG=Search]

All others are requested to take a look at the reception of the film and to feed their information into this page: [[Tim Robbins (dir.), Dead Man Walking (1995 film)|Dead Man Walking (USA 1995)]]. Give your link and a summary of your result. We should get an idea of the debate the film was able to produce to then compare this debate with the debate we had in class.

==May 2: Truth and fiction==
* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995)
* [http://en.wikipedia.org/wiki/Redemption:_The_Stan_Tookie_Williams_Story ''Redemption: The Stan Tookie Williams Story''] (2004)
Both films dealt with actual cases. Was this link to reality important? How was it used in the film and in the ensuing debate?

Some Links:

*http://www.tookie.com/tookie_fact_sheet_10.18.05.pdf
*http://da.co.la.ca.us/pdf/swilliams.pdf
*http://www.savetookie.org/ // http://www.tookie.com/
*Snoop Dogg at San Quentin Prison speaking on Tookie http://de.youtube.com/watch?v=qASQBKwngsE&feature=related
::--[[User:Sonja|Sonja Büsing]] 13:30, 02.05.2008

==May 9: The dark side==
* [http://en.wikipedia.org/wiki/Monster%27s_ball ''Monster’s Ball''] (2001)
* [http://en.wikipedia.org/wiki/Identity_(film) ''Identity''] (2003)
* [http://en.wikipedia.org/wiki/The_Green_Mile_%28film%29 ''The Green Mile''] (1999)
The capital punishment seems to have a dark side - how is this dark side connected with the general appeal of the death penalty?

----

Dear Participants of my Seminar on Capital Punishment in US Movies,

I still have not quite made up my mind about how we should proceed. I wanted to see a larger number of these films to get an idea of the "genre" - if one can speak of such a genre.

...and I think one can. People have ideas about what a movie of "this kind" should include. The advertising material for ''Monster's Ball'' proves the existence of the genre by denying that this film fits into it. ''Last Dance'' on the other hand blatantly exploits the genre conventions (of which I'd like to have the clearer picture) - at times ''Last Dance'' is almost a copy of ''Dead Man Walking'' though with reversed roles.

*Option one: We take a look into ''Last Dance'' - the debate might be flat at the moment, it might circle around ''Dead Man Walking'' as the movie with which one will compare the film.
*Option two: We take another look at ''Green Mile'' - I had a problem with the video projector last time and would make sure that we won't have the same problem again. Contra-indication here: It might be difficult to get an interesting discussion, since I did not plan two sessions with distinct topics before hand. I still have my own questions - yet I realised it is difficult to give them momentum: I am intrigued about this kind of magic realism. It makes me feel uneasy. I have spent some thoughts on this uneasiness over the weekend and realised it is a general problem I have with materials which want to be interpreted. It is the role of the intended interpretation per se which makes me ask for a cultural theory of such materials and their potentials (a difficult topic).
*Option three: We change the plan an move on to ''David Gale'' for next session. As you know I did not like the film - wondering whether it does not blatantly discredit the movement of human rights activists opposing capital punishment. I would offer an option to watch the movie at my place tomorrow, Thursday, 20.45 pm.

The reshuffling of the schedule could give us a chance to directly move on to Robert Altman's film and to use the questions Altman asks for the more interesting debate of ''Last Dance'' and ''True Crime'' in the ensuing sessions.

I am slightly in favour of option three - need, however, your consent to prepare ''David Gale'' for Friday.

I am also still waiting for the clearer picture of your personal plans of seminar-work. The seminar will not become interesting if you do not turn it into the platform on which you take your first steps into the works you intend to write. I want you to use the seminar to test observations and ideas and to get feedback from your colleagues,

best, --[[User:Olaf Simons|Olaf Simons]] 11:07, 14 May 2008 (CEST)

::PS ''Last Dance'' would (if we took option three) become part of three sessions circling around Altman's film. ''A Time to Kill'' would move into the self administered justice section. ''True Crime'' and ''Dirty Harry'' would move closer together.

----

* I'd prefer option three just because I didn't like the "Green Mile" too much. Heard quite a lot about "David Gale" and would like to see it. (Marie-Ann Mowka)
* ''David Gale'' would be okay, although I'd like to further discuss ''The Green Mile'', as well. However, maybe we should discuss the further outline of the seminar in the next session, which would give us the possibility to shift the postion of some films... --[[User:Bastian Martens|Bastian Martens]] 11:21, 15 May 2008 (CEST)
*I think we should catch up with the "Green Mile" material we were up to watch last week and then continue with "David Gale". (Raimund Teske)
* I agree with Raimund

==May 16: Rescheduling the Course, Ideas for individual seminar papers discussed==
*Andrea Kröger: Vigilantism. (See also the film list at [http://en.wikipedia.org/wiki/Vigilante en.wikipedia]
*Jochen Berkowsky: Lars von Trier, [http://en.wikipedia.org/wiki/Dancer_in_the_dark ''Dancer in the Dark''] - a European perspective on capital punishment in the USA.
*Philipp Kreutzer, [http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003) - Public reception
*Anna Rozwadowska, Vigilantism.

Hauke Uterhark proposed to add David Fincher's [http://en.wikipedia.org/wiki/Seven_%28film%29 ''Se7en''] (1995) to our selection of vigilantism films.

==May 23: Human rights activists on trial?==

* [http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003)
''The Life of David Gale'' (2003) is probably the worst movie on the list - worth examining as a questionable item. Philipp promised a Thesenpapier (questions he will ask in his seminar paper, views he would try to prove, ideas how he might prove what he would like to prove...) --[[User:Olaf Simons|Olaf Simons]] 13:26, 17 May 2008 (CEST)

==May 30: Hollywood on trial==
* [http://en.wikipedia.org/wiki/The_Player ''The Player''] (1992)
Invites a reevaluation of the films we have seen so far.

'''Additional Screening:''' Wednesday 5/28/08, Brandsweg 25, 8 p.m., Hagemann (movie will be there, bring what you need) Jochen & Jens

(Anna Rozwadowska)
Hi everybody. I am interested in an additional screening "session" because I can´t come on thursday; who else is? I would prefer wednesday evening. I can offer my place (which is Tannenkampstr. 31) if there is no other possible place to meet.
But: somebody would have to bring the film :)

==June 6: Is there a Genre of Execution Row Movies?==
* [http://en.wikipedia.org/wiki/Last_Dance_%28film%29 ''Last Dance''] (1996)
* [http://en.wikipedia.org/wiki/True_Crime_%281999_film%29 ''True Crime''] (1999)

''Last Dance'' has a number of scenes which seem to recall ''Dead Man Walking''. Clint Esastwood's ''True Crime'' is another good candidate for a film produced against the backdrop of genre conventions. Watch both movies without the ending:

* stop [http://en.wikipedia.org/wiki/Last_Dance_%28film%29 ''Last Dance''] when her execution is interrupted.
* stop [http://en.wikipedia.org/wiki/True_Crime_%281999_film%29 ''True Crime''] when you see the wife of the convicted man in her last desperation outside the execution chamber.

Isabelle promised a talk on the question of arguments and emotions. It would be nice if you could provide a Thesenpapier on your topic, something like a sketch of the work you would write. --[[User:Olaf Simons|Olaf Simons]] 16:31, 30 May 2008 (CEST)

==June 13: The US-American Genre - A comparison of films==
*Krzysztof Kieslowski, ''A Short Film About Killing'' (Poland 1988) [http://de.wikipedia.org/wiki/Ein_kurzer_Film_%C3%BCber_das_T%C3%B6ten German wikipedia]

Jochen Berkowsky might offer an additional presentation on Lars von Trier, [http://en.wikipedia.org/wiki/Dancer_in_the_dark ''Dancer in the Dark''] (2000)

'''Task for all:''' Watch Krzysztof Kieslowski, ''A Short Film About Killing'' (Poland 1988). You'll find copies in the library or might see the film in group on Wed. 11, Tannenkampstr. 12, due to our bright nights at 21.30.

Prepare a statement on a comparison of Kieslowski's film and a US-film you will analyse in your written work:

*Flashbacks
*Camera perspectives (with a look at the protagonists, whose views do we get?)
*Which discussions are brought explicitly into the two films?
*What roles do the media and the public play in your films?
*What roles do the victims play in your films?
*What role does religion play in your films?
*What roles do bereaved family members play in your films?
*How is colour used in your films?
*How is music used in your films?
*How do your films create suspense?
*Is there a rhythm of suspense and relaxation?
*Is the plot transcended by a deeper significance to be interpreted into the events?
*With whom do we suffer?
*Are there protagonists whose suffering we begin to apreciate?
*...a topic of your choice

We should take a look at the different statements and discuss which of the questions turn out to be fruitful ground for further investigation. --[[User:Olaf Simons|Olaf Simons]] 15:43, 9 June 2008 (CEST)

----

Kurze Fragen bezüglich des "Absatzes": 1) Wie lang ist ungefähr ein "Absatz"? 2) Das muss ja bis Freitag sein - sollen wir diese Fragen bzw. eine dieser Fragen jeweils auf den gesamten Film anwenden oder auf spezielle Szenen? - hängt von der Länge des Absatzes ab. Zwei gesamte Filme auf die Musik oder Kameraperspektive hin zu analysieren ist - ähm, lang. 3) Soll die Analyse eher objektiv oder subjektiv sein in Bezug auf unsere eigene Wahrnehmung? Darf ich z.B. zum Thema Musik auch auf wissenschaftliche Theorien hinweisen oder magst Du eher, dass wir schreiben wie wir sie empfanden? (eigentlich eine total bescheuerte Frage, "Herr Dozent, was mögen Sie lieber...?" ...) : ) [[User:Verena Engelhardt|Verena Engelhardt]] 17:54, 9 June 2008 (CEST)

:Ich will eine These zum Befund, nicht die Analyse selbst - eine Voraussage, was man mit der Untersuchung fände (wenn man sie etwa als Seminararbeit machen würde). Dazu kann man ein zwei Momente erwägen, an denen sich das absehbare Ergebnis deutlich zeigen würde. Ich möchte in der Stunde überlegen, welche Untersuchungen zu welchen Befunden führen - denn darum geht es mir mit dem Seminar insgesamt: Im ersten Schritt den Gegenstand fragwürdig zu machen, Neugier zu schaffen, im zweiten das Nachdenken dazu einzuleiten, mit welchen Untersuchung man die Fragen, die man zunehmend klar für sich formuliert kriegt, demonstrativ beantworten kann. --[[User:Olaf Simons|Olaf Simons]] 20:33, 9 June 2008 (CEST)

::Okay, ich oute mich als überfordert und zu dumm. Was ist eine These zum Befund? Dass ich formuliere, was theoretisch am Ende herauskommen könnte, nicht aber schon der Beweis? Und mit ein zwei Momenten meinst Du ein bis zwei Momente im Film? Tut mir leid, wenn ich blöd nachfrage - irgendwie merke ich an dieser Stelle, dass ich tatsächlich noch nicht im Masterstudium bin :( [[User:Verena Engelhardt|Verena Engelhardt]] 21:26, 9 June 2008 (CEST)

==June 20: Taking the Law Into One's Own Hands, I==
* [http://en.wikipedia.org/wiki/A_Time_to_Kill_(film) ''A Time to Kill''] (1996)

==June 27: 27.06. Taking the Law Into One's Own Hands, II==
* [http://en.wikipedia.org/wiki/The_Brave_One_%282007_film%29 ''The Brave One''] (2007) directed by Neil Jordan, starring Jodie Foster. A mayhem victim avenges the death of her husband under the protection of the police officer who is supposed to solve the case. [http://thebraveone.warnerbros.com/ www.thebraveone.warnerbros.com] [http://www.imdb.com/title/tt0476964/ IMDb]

Topic and session need more consideration. Andrea promised a talk on a TV-series I have not seen.

:Hallo Olaf, ich hab eine Frage zum Thema Hausarbeit. Ich möchte gern zu "The Brave One" schreiben aber bislang fehlte es mir an Ideen.
Nun hab ich den Film ein zweites Mal gesehen und mich stark auf die Musik und die Farben konzentriert. Dabei kam mir der Gedanke (der aber noch gänzlich unausgereift ist) ob man etwas darüber schreiben könnte, inwiefern (vor allem) die Auswahl der Musik und evt. auch die der Farben dazu führt, dass der Betrachter eine "Pro-Death-Penalty" Einstellung, bzw. eine starke Sympathie für die Figur, die die Selbstjustiz ausführt, entwickelt.
:Explizitere Ideen zur Strukturierung, oder so, hab ich aber noch nicht. Grüße, Anna Rozwadowska
::Das ist eine These, von der ich soeben zwei Hälften sehe: die eine Hälfte sagt "in dem Film wird die Todesstrafe propagiert" (Frage: kannst Du das belegen?), die andere Hälfte ist: "Die Musik macht/unterstützt das." - Frage: welche Musik sollte das wie schaffen? - das ist unklar. Willst Du mir erklären, daß eine andere Musik unter dem Film ein anderes Ergebnis brächte? Ist es die Musik selbst - die Tatsache, daß da überhaupt welche ist? Sind bestimmte Musik-genres das problematische?) Ich werfe das mal in den Raum. Damit das eine Arbeit wird, muß die These da noch etwas Konturen gewinnen - spannend ist bereits, wenn Du klarstellen kannst, daß der Film eine klare Tendenz hat - denn auch das wirft auch Folgefragen auf: Darf der Film ungestraft ein Pladoyer für die Todesstrafe oder Selbstjustiz sein??? ohne etwa billige Death-Penalty-Propaganda zu werden? Spannendes Gebiet. --[[User:Olaf Simons|Olaf Simons]] 19:57, 17 June 2008 (CEST)

Also, wenn man davon ausgeht (wie wir das mal im Seminar kurz angerissen hatten), dass Selbstjustiz eine Form von Todesstrafe ist, so würde ich die Aussage, dass "in dem Film die Todesstrafe propagiert wird" mit einem "Ja" beantworten wollen. Es lassen sich mit Sicherheit Belege finden, ich möchte aber momentan noch keine Beispiele nennen.

Was die Musik angeht (und evt auch die Auswahl der Farben und die Kameraführung):.... Ich habe da so eine fixe Idee, die aber eben noch unausgereift ist. Ich denke, dass bestimmte Musikinstrumente und Melodien bestimmte Emotionen hervorrufen bzw. in bestimmten Situationen bestimmte Stimmungen beeinflussen, und dass sie zwecks dieser Beeinflussung eingesetzt werden. Wie es ja nun eigentlich in nahezu jedem Film der Fall ist.(Ich denke generell, dass eine andere Musik evt eine andere Reaktion des Betrachters hervorgerufen hätte...welche Musik welche Reaktion vermag ich allerdings momentan nicht zu sagen.)

In manchen Szenen (so empfand ich das) wurde durch die besimmte Auswahl der Musikinstrumente, der Kameraführung und der Farben auch eine Einsicht in das "Innenleben" von Erica gewährt. (Zum Beispiel, wenn sie in ihrem Hausflur ist und auf die Tür zusteuert...durch die wankende Kameraführung entsteht ein Gefühl von Unsicherheit). Alles zusammen unterstützt die Dramatik, die sie durchlebt.

Ich denke weiterhin, dass jeder Betrachter durch sein Einfühlungsvermögen (welches eben auch durch bestimmte Musik, Farben und Kameraführung verstärkt wird) "mitdurchlebt", was Erica erlebt und somit ein Verständnis für ihre Handlung entwickelt. Wenn Erica als Teil des Ganzen steht (als Vertreter der Todesstrafe sozusagen), dann wird der Betrachter (zumindest was diesen Fall angeht) dazu gebracht die Todesstrafe als weniger tragisch, wenn nicht sogar als gerecht anzusehen.
Abgesehen davon haben wir auf der anderen Seite ja noch den Polizisten Mercer, der als Teil fürs Ganze angesehen werden könnte (quasi als Vertreter der Justiz) und offensichtlich die Todesstrafe als gerecht ansieht. Aber das ist wiederum ein anderes Thema.
Was die Folgefrage betrifft, die Du gestellt hast bzw. die aufgeworfen wird, so kann ich dazu noch keine Antwort/Idee liefern.

Ach, es gibt soviel zu sagen, es fällt mir schwer, das hier kurz in Worte zu fassen. Grüße, Anna

==July 4: ==
I leave this open for consideration of seminar papers.

==July 11: Dancer in the Dark or the complex usability of the topic==
Jochen Berkowsky: Lars von Trier, [http://en.wikipedia.org/wiki/Dancer_in_the_dark ''Dancer in the Dark''] - a European perspective on capital punishment in the USA.

Look back on the seminar and my feedback on the seminar evaluation.

===Topics===
====Background information====
* The history of the death penalty and Foucault's work.
* The legal status in the US
* Pro and contra: interest groups
* The question of method - from electrocution to the lethal injection - what is the function of the debate?
* Religion and the death penalty

====Seminar papers====
Be creative! And open a special section on the [[Talk:2008 MM Present US-Cinema and the Death Penalty|Discussion page]] to give outlines of topics you are interested in.

=== Films in which the death penalty plays a major role ===

* [http://www.imdb.com/title/tt0972554/ ''Execution''] (2007) directed by Steven Scaffidi. In the year 1995 two filmmakers gained access to death row and filmed the final seven days of a man before he got executed. The Warden confiscated the film footage, but ten years later the filmmakers get the film footage back. You can see some pictures and a trailer on [http://www.executionfilm.com/execution_dot_com/index.php www.executionfilm.com] [http://www.imdb.com/title/tt0972554/ IMDb] (Andrea)

* [http://en.wikipedia.org/wiki/Redemption:_The_Stan_Tookie_Williams_Story ''Redemption: The Stan Tookie Williams Story''] (2004) (TV) Film directed by Vondie Curtis-Hall and starring Jamie Foxx. The film is based on the true story of Stan "Tookie" Williams, founder of the "Crips", a street gang in L.A. He was accused of murder, prisoned and executed. While in Death Row, he started writing children's novels, which earned him Nobel Peace Prize nominations. [http://www.imdb.com/title/tt0388367/ IMDb]

* [http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003) directed by Alan Parker, starring Kate Winslet and Kevin Spacey. An acitivist against the death penalty is accused of murdering a fellow activist and is sentenced to death. While he is in prison, he tells his story to a reporter in flashbacks. [http://www.thelifeofdavidgale.com/ www.thelifeofdavidgale.com] [http://www.imdb.com/title/tt0289992/ IMDb]

* [http://en.wikipedia.org/wiki/Monster_%28film%29 ''Monster''] (2003) directed by Patty Jenkins Adapting the true story of female serial killer Aileen Wuornos, a former prostitute who was executed in 2002 for killing seven men in the late 1980s and early 1990s. [http://www.imdb.com/title/tt0340855/ IMDb] not ordered for library

* [http://en.wikipedia.org/wiki/Monster%27s_ball ''Monster’s Ball''] (2001) directed by Marc Foster, starring Oscar-Winner Halle Barry and Billy Bob Thornton. Thornton plays a racist prison guard who falls in love with the wife of the last prisoner he executed and reexamines his own attitudes. [http://www.imdb.com/title/tt0285742/ IMDb]

* [http://en.wikipedia.org/wiki/Dancer_in_the_Dark ''Dancer in the Dark''] (2000) [http://www.dancerinthedarkmovie.com/ www.dancerinthedarkmovie.com] [http://www.imdb.com/title/tt0168629/ IMDb]

* [http://en.wikipedia.org/wiki/The_Green_Mile_%28film%29 ''The Green Mile''] (1999) directed by Frank Darabont, starring Tom Hanks and Micheal Clarke Duncan. The lives of prison guards leading the condemned prisoners to their executions, one of them went to prison on false accusation. [http://thegreenmile.warnerbros.com/ thegreenmile.warnerbros.com] [http://www.imdb.com/title/tt0120689/ IMDb]

* [http://en.wikipedia.org/wiki/True_Crime_%281999_film%29 ''True Crime''] (1999) directed by Clint Eastwood, based on Andrew Klavan's novel, who also wrote the screenplay. Frank Beachum was sentenced to death but claims to be innocent. Steve Everett played by Eastwood is a journalist who attempts to find the truth about the murder. [http://www.truecrimethemovie.com/ www.truecrimethemovie.com] [http://www.imdb.com/title/tt0139668/ IMDb]

* [http://en.wikipedia.org/wiki/Last_Dance_%28film%29 ''Last Dance''] (1996) directed by Bruce Beresford. [http://www.imdb.com/title/tt0116827/ IMDb]

* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995) directed by Tim Robbins, starring Susan Sarandon and Sean Penn. [http://www.imdb.com/title/tt0112818/ IMDb]

* [http://en.wikipedia.org/wiki/The_Player ''The Player''] (1992) directed by Robert Altman using a screenplay by Michael Tolkin based on his own novel. [http://www.imdb.com/title/tt0105151/ IMDb]

=== Films in which self-administered justice becomes a major topic ===

* [http://en.wikipedia.org/wiki/Death_Sentence_%28film%29 ''Death Sentence''] (2007) A drama directed by James Wan. With Kevin Bacon, John Goodman and Kelly Preston. An executive witnesses a crime that changes his life. He wants to protect his family and seeks revenge. [http://www.deathsentencemovie.com/ www.deathsentencemovie.com] [http://www.imdb.com/title/tt0804461/ IMDb]

* [http://en.wikipedia.org/wiki/The_Brave_One_%282007_film%29 ''The Brave One''] (2007) directed by Neil Jordan, starring Jodie Foster. A mayhem victim avenges the death of her husband under the protection of the police officer who is supposed to solve the case. [http://thebraveone.warnerbros.com/ www.thebraveone.warnerbros.com] [http://www.imdb.com/title/tt0476964/ IMDb]

* [http://en.wikipedia.org/wiki/The_Punisher_%282004_film%29 ''The Punisher''] (2004) directed by Jonathan Hensleigh. After his wife and family are killed, Frank Castle takes it upon himself to distribute punishment to those responsible for the vendetta. [http://www.punishermovie.com/ www.punishermovie.com] [http://www.imdb.com/title/tt0330793/ IMDb]

* [http://en.wikipedia.org/wiki/Double_Jeopardy_(film) ''Double Jeopardy''] (1999) directed by Bruce Beresford, starring Ashley Judd and Tommy Lee Jones. An innocent woman is sentenced to death for the murder of her husband. While in prison, she discovers that her husband is still alive and that he and her best friend betrayed her. After her release on probation, she wants to take revenge; based on the American law that a person cannot be re-accused of the same crime. [http://www.imdb.com/title/tt0150377/ IMDb]

* [http://en.wikipedia.org/wiki/A_Time_to_Kill_(film) ''A Time to Kill''] (1996) based on the novel written by John Grisham. A father takes revenge on the rapists of his daughter. [http://www.imdb.com/title/tt0117913/ IMDb]

* [http://en.wikipedia.org/wiki/Seven_%28film%29 ''Se7en''] (1995) [http://www.imdb.com/title/tt0114369/ IMDb]

* [http://en.wikipedia.org/wiki/Dirty_Harry ''Dirty Harry''] (1971) with its sequels which handle the topic of vigilante justice in variations till [http://en.wikipedia.org/wiki/The_Dead_Pool ''The Dead Pool''] (1988). [http://www.imdb.com/title/tt0066999/ Dirty Harry on IMDb] [http://www.imdb.com/title/tt0094963/ The Dead Pool on IMDb]

=== Films in which the accidental death of the criminal reestablishes a higher justice ===

=== Documentary films (German/additional/available at the university library) ===

* Dubois, Jean-Paul. ''Henker erzählen: Todesstrafe in den USA.'' Frankreich, 2004. Fernsehmitschnitt Sw: USA. Fernsehmitschnitt: WDR, 22.10.2004. (VHS, farb., 50 Min.) (Dokumentation über Henker in den USA, die sich kritisch mit ihrer Arbeit und der Todesstrafe auseinandersetzen)

* Kessel, Julie von. ''The Innocence Project.'' Deutschland, 2002. Fernsehmitschnitt: Arte, 03.12.2002. (VHS, farb., 20 Min.) (Bericht über ein DNA-Projekt der New Yorker Columbia University, das sich mit Schuld oder Unschuld zum Tode Verurteilter beschäftigt.)

* Steinberg, Klaus; Bock, Astrid. ''Leben mit der Hinrichtung: Begegnungen im Todestrakt.'' Deutschland, 1997. Fernsehmitschnitt: ZDF (37 Grad), 12.08.1997. (VHS, farb., 30 Min.') (Bericht über zum Tode verurteilte Häftlinge in den USA.)

* Walwin, Kent; Trombley, Stephen [Reg.]. ''L 'état meurtrier'' = Der Staat als Mörder. Deutschland/Frankreich, 1996. Fernsehmitschnitt: ARTE, 21.3.1996, 20,45 Uhr. (VHS, Zweikanalton, Monospur dt., farb., 75 Min.) (Auseinandersetzung um die Todesstrafe vom Ursprung bis zur heutigen Praxis in den USA)

* Hoewijk, Jaap van. ''Procedure 769: a hanging.'' Niederlande, 1995. Fernsehmitschnitt: West 3, 15.4.1996, 23,00 Uhr. (VHS, farb., 80 Min) (Der Film geht der Frage nach, warum Angehörige des Täters und der Opfer von Robert A. Harris dessen Hinrichtung beiwohnten.)

* Leacock, Richard; Pennebaker, Don Alan. ''The chair'' = Der Stuhl. Monospur dt., Stereospur engl. USA, 1963. Fernsehmitschnitt: Arte, 18.10.1996. (VHS, s/w, 75 Min.) (Documentary about the death sentence.)

* Reinhold, Frank. ''Take care'' = Gib auf dich acht! Deutschland, 1997. Fernsehmitschnitt: ARTE, 10.6.1997. (VHS, Zweikanalton, Monospur dt., Stereospur franz., farb., 60 Min.) (Die Liebesgeschichte zwischen dem in den USA zum Tode verurteilten Schwarzen Arthur Lee Williams und einer Deutschen von Amnesty International.)

* [http://de.youtube.com/watch?v=4H9CAdwGMiU Death Row Kids - USA]. I found this on YouTube: a 25min documentary about two young men who've been sentenced to death at the age of seventeen.

===Literature===
MLA on "Death Penalty", "Capital Punishment", "Execution", "The Player"

'''2007'''
*Tolkin, Michael. "[Fiction into Film.]" ''BookForum: The Review for Art, Fiction, & Culture'', 14:2 (2007 June-Aug), pp. 36-37. [Subject Terms: American literature; 1900-1999; Tolkin, Michael (1950-): The Player (1988); novel; film adaptation; by Altman, Robert (1925-2006).]

'''2006'''
* O'Shea, Kathleen. Killing the Killers: Women on Death Row in the United States. pp. 67-82. Burfoot, Annette (ed. and introd.) Lord, Susan (ed. and introd.). ''Killing Women: The Visual Culture of Gender and Violence'' Cultural Studies Series. 6. Waterloo, ON: Wilfred Laurier UP, 2006. xxii, 328 pp. (Book article) [Subject Terms: Dramatic arts; television; in United States; 1998; treatment of women murderers; religious conversion; relationship to capital punishment; social conventions; of femininity; objectification.]

'''2005'''
* George, Diana and Shoos, Diane. "Deflecting the Political in the Visual Images of Execution and the Death Penalty Debate". ''College English'', 67:6 (2005 July), pp. 587-609. (Journal article) [Subject Terms: Dramatic arts; film; treatment of capital punishment; compared to photographs; of lynching; relationship to witness; voyeurism.]
*Poirot, Valérie. Cinéma et engagement: Représentations de la peine de mort et images d'exécution dans les productions américaines et françaises. ''Dissertation Abstracts International, Section A: The Humanities and Social Sciences'', 66:3 (2005 Sept), p. 798. (Dissertation abstract) [Subject Terms: Dramatic arts; film; in France; United States; 1970-1999; treatment of execution.]
* Reinelt, Janelle. "The Ambivalence of Catholic Compassion". ''Journal of Dramatic Theory and Criticism'', 20:1 (2005 Fall), pp. 103-12. (Journal article) [Subject Terms: American literature; 1900-1999; Prejean, Helen (1939-): Dead Man Walking (1993); prose; treatment of capital punishment; relationship to Christianity.]
*Schuyler, Michael T. "'Traffic Was a Bitch': Gender, Race and Spectatorship in Robert Altman's The Player." ''Journal of Narrative Theory'', 35:2 (2005 Summer), pp. 218-47. (Journal article) [Subject Terms: Dramatic arts; film; treatment of women; blacks; relationship to spectator; in Altman, Robert (1925-2006): The Player (1992).]

'''2003'''
* Horeck, Tanya. "From Documentary to Drama: Capturing Aileen Wuornos." ''Screen'', 48:2 (2007 Summer), pp. 141-59. [Treatment of Wuornos, Aileen (1956-2002); women murderers; capital punishment; in Broomfield, Nicholas (1948-) and Churchill, Joan: Aileen: Life and Death of a Serial Killer (2003) compared to Jenkins, Patty (1971-): Monster (2003).] see: [http://en.wikipedia.org/wiki/Aileen_Wuornos:_The_Selling_of_a_Serial_Killer en.wikipedia.org]
*Goldsmith, David F. "Monster." ''Creative Screenwriting'', 11:1 (2004 Jan-Feb), pp. 30-31. (Journal article) [Subject Terms: Dramatic arts; film; film genres; crime film; treatment of prostitute; sexual abuse; relationship to revenge; capital punishment; in Jenkins, Patty: Monster (2003).]
* Meranze, Michael. "Michel Foucault, the Death Penalty and the Crisis of Historical Understanding." ''Historical Reflections/Réflexions Historiques,'' 29:2 (2003 Summer), pp. 191-209. (Journal article) [Subject Terms: French literature; 1900-1999; Foucault, Michel (1926-1984): L'Histoire de la sexualité (1976); History of Sexuality: "Il faut défendre la société"; prose; treatment of capital punishment; relationship to war; race; power.]
* Parker, Alan. "Gale Force: My Personal Journey to a Death Row Drama." ''Film Journal International'', 106:2 (2003 Feb), p. 12, 30. (Journal article) [Subject Terms: Dramatic arts; film; treatment of capital punishment; in Parker, Alan (1944-): The Life of David Gale (2003); interview.]

'''1999'''
*Neubert, Ingo. "Sichtweisen des Fremden: Der amerikanische Dokumentarfilm und das Lernziel interkultureller Kompetenz: Dargestellt an der Direct-Cinema-Produktion The Chair zur Situation der Todesstrafe in den USA." ''Anglistik und Englischunterricht'', 62 (1999), pp. 407-30. (Journal article) [Subject Terms: Dramatic arts; film; film genres; documentary film; treatment of capital punishment; in Drew, Robert L. (1924-): The Chair (1962).]
*Prédal, René. "The Player ou la mort du scénariste," pp. 127-47. Estève, Michel (ed. and introd.). ''Robert Altman.'' Paris, France: Minard, 1999. 209 pp. [Subject Terms: American literature; 1900-1999; Tolkin, Michael (1950-): The Player (1988); novel; intertextuality; plot; relationship to Hollywood; in screenplay; for film adaptation; by Altman, Robert (1925-).]
* Stoekl, Allan. "Execution and the Human." ''Intertexts'', 3:1 (1999 Spring), pp. 3-31. (Journal article) [Subject Terms: American literature; 1900-1999; Dick, Philip K. (1928-1982): Do Androids Dream of Electric Sheep? (1968); novel; treatment of capital punishment; murder; human condition; in Scott, Ridley (1938-): Blade Runner (1982) as film adaptation compared to Kant, Immanuel (1724-1804): Metaphysische Anfangsgründe der Rechtslehre.]

'''1998'''
*Lauritzen, Paul. "The Knowing Heart: Moral Argument and the Appeal to Experience". ''Soundings: An Interdisciplinary Journal'', 81:1-2 (1998 Spring-Summer), pp. 213-34. (Journal article) [Subject Terms: American literature; 1900-1999; Prejean, Helen (1939-): Dead Man Walking (1993); prose; treatment of capital punishment; relationship to morality; experience.]

'''1997'''
* Guest, David. ''Sentenced to Death: The American Novel and Capital Punishment.'' Jackson, MS: UP of Mississippi, 1997. xx, 179 pp. (Book) [Subject Terms: American literature; 1900-1999; novel; treatment of capital punishment.]
*Nayman, Ira. "The Adaptable Altman." ''Creative Screenwriting,'' 4:3 (1997 Fall), pp. 84-96. [Subject Terms: American literature; 1900-1999; Chandler, Raymond (1888-1959): The Long Goodbye (1954); novel; and Tolkin, Michael (1950-): The Player (1988); Carver, Raymond (1936-1988); role of film adaptation; by Altman, Robert (1925-).]

'''1994'''
*Danziger, Marie. "Basic Instinct: Grappling for Post-Modern Mind Control." ''Literature/Film Quarterly,'' 22:1 (1994), pp. 7-10. [Subject Terms: Dramatic arts; film; treatment of power; in Verhoeven, Paul (1938-): Basic Instinct (1992); Altman, Robert (1925-2006): The Player (1992)]
*Pilipp, Frank. "Satirizing Hollywood: The Self-Referentiality of Robert Altman's The Player: Co-Sponsored by the Virginia Humanities Conf. and the Virginia Center for Media and Culture," pp. 80-84. Schwartz, Joel (introd.). ''Proceedings of the Conference on Film and American Culture.'' Williamsburg: Roy R. Charles Center, College of William and Mary, 1994. 111 pp.

'''1992'''
*Richolson, Janice. "The Player: An Interview with Robert Altman." ''Cineaste: America's Leading Magazine on the Art and Politics of the Cinema,''' 19:2-3 (1992), p. 61.

=== Further reading (available at the library) ===

* Amnesty International. ''Todesstrafe in den USA.'' Frankfurt am Main: Fischer-Taschenbuch-Verlag, 1989.

* Bedau, Hugo A. [Hrsg.] ''Capital punishment in the United States.'' New York, N.Y.: AMS Press, 1976. ISBN 0-404-10325-1

* Martschukat, Jürgen. ''Geschichte der Todesstrafe in Nordamerika: von der Kolonialzeit bis zur Gegenwart.'' 1. Ed. München: Beck, 2002. ISBN 3-406-47611-2 (Pb.)

* Sarat, Austin. ''When the State Kills: Capital Punishment and the American Condition.'' New Jersey: Princeton University Press, 2001. (not available at the library)

* Sarat, Austin. ''Crime and punishment: perspectives from the humanities.'' Vol. 37. Amsterdam: Elsevier, 2005. ISBN 0-7623-1245-9 (hbk.)

* Sarat, Austin. ''Punishment politics and culture.'' Vol. 30. Amsterdam: Elsevier, 2004. ISBN 0-7623-1072-3

* Schwed, Roger E. ''Abolition and capital punishment: the United States' judicial, political, and moral barometer.'' New York, N.Y.: AMS Press, 1983. ISBN 0-404-61623-2

====Fiction (additional) ====

* John Grisham, ''The Chamber''. New York: Doubleday, 1994.
* Victor Hugo, ''The Last Day of a Condemned Man'' [1829]. London: Hesperus Press Ltd., 2002.

=== Links ===
* [http://www.film.com/ www.film.com] Movie Trailers and Times, Reviews and Previews, Celebreties, TV, DVD etc.
* [http://elokuvantaju.uiah.fi/2001/english/study_material/study_material.jsp Cinemasense] Study material on cinematic techniques, including a word search for cinematic terms, which are explained and illustrated by film stills.
* [http://www.nitpickers.com/ nitpickers.com] Movie mistakes, movie errors, movie reviews.
* [http://www.filmsite.org/filmterms1.html Cinematic Terms - A Film-Making Glossary] Study material on cinematic terms explained and illustrated by examples.
* [http://en.wikipedia.org/wiki/Capital_punishment_in_the_United_States Capital punishment in the United States] - en.wikipedia.org
* [http://www.deathpenaltyinfo.org/ deathpenaltyinfo.org] Including a [http://www.deathpenaltyinfo.org/article.php?did=132&scid=17 List of Articles] and a [http://www.deathpenaltyinfo.org/article.php?did=130&scid=20 List of Books] on the Death Penalty.
* [http://www.deathpenalty.org/index.php?pid=main&menu=1 deathpenalty.org] "The Death Penalty Focus", an organization against the Death Penalty founded in 1988.
* [http://deathpenaltycurriculum.org/student/c/states/maps/contents.htm deathpenaltycurriculum.org/states/maps] Interactive U.S. maps on the Death Penalty, including methods of execution, homicides and use of the death penalty, and execution on death row inmates (all by state).
* [http://www.deathpenalty.org/pdf_files/CurriculumFeb.2006.pdf deathpenalty.org/pdf_files/curriculum] A pdf file showing suggested lesson plans for teachers. Including case studies, material on discussions, exams and essays, history of the Death Penalty, laws, international views and a suggested general reading list.
* Jonsson, Patrick. "Is self-defence law vigilante justice?". The Christian Science Monitor Feb. 24 2003 <http://www.csmonitor.com/2006/0224/p02s01-usju.html>
* Guarnera, Daniel. "Hard to Kill: Why Can’t the U.S. Find a Suitable Execution Method?". International Review Jan. 4 2007 <http://www.internationalistreview.com/article.php?id=52>
* [http://watchthesimpsonsonline.com/movie/68-The_Simpsons_1321_The_Frying_Game.html The Simpsons 13x21 The Frying Game] Fun Stuff: An episode of "The Simpsons" showing Homer and Marge being accused of murder and sentenced to death, but before Homer's execution on the electric chair, it is revealed that they are actually in a TV-Show called "Frame Up". The episode 'criticises' (in the Simpsons manner) the Realtity Show that presents the Death Penalty as a show for a TV audience. In addition, there is a short reference to "Dead Man Walking" and "The Green Mile".

[[Category:Summer 2008]]
[[Category:Mastermodul]]
[[Category:Capital Punishment]]

Talk:2008 MM Present US-Cinema and the Death Penalty

2008-06-06T09:59:45Z

Bastian Martens: /* Course outline */

Talk:2008 MM Present US-Cinema and the Death Penalty

2008-06-05T17:50:41Z

Bastian Martens: /* Course outline */

Talk:C&P-Group

2008-05-23T07:48:04Z

Bastian Martens: /* Ideen */

== Anwesenheit ==

Also erstmal sollten wir schauen, ob's alle bis hierher geschafft haben.
Wer da ist, bitte anmelden und "anwesend" (ggf. Nickname) hinter seinen Namen schreiben (Abschnitt editieren).
Ist denk ich am Besten, damit wir den Überblick behalten können.

Bastian M: anwesend 
Tim R: anwesend 
Gerrit P: anwesend 
Anke T: 
Johannes? 
?? 

== Ablauf ==
Wir sammeln unsere Ideen hier (Diskussionsseite) und tragen die jeweiligen Ergebnisse auf der "article"-Seite ein, hab ich das richtig verstanden?   /Tim

== Ideen ==

1. Zum Problem am Bahnhof: Wie könnte man nun eine Problemlöse-Aufgabe daraus machen? Wichtig ist zunächst ja der Outcome, der in diesem Fall wäre, nachher im richtigen Zug zu sitzen (mitsamt Ticket). Schwierig ist auch, wie ein "richtiger" Task draus wird, so dass alle sinnvoll teilnehmen können. Hatten ja die Idee mit den Verkaufsschaltern, das wäre für eine Gruppe Schüler, die an den (nicht "deklarierten") Schaltern sitzen, die Aufgabe, Auskünfte zu geben; die andere Schülergruppe müsste Informationen beschaffen. Mögliche Probleme: Welches Sprachniveau ist möglich? Wieviel Interaktion/Kommunikation ist so realistisch möglich? Wie organisiert man es, dass nicht alle nach einmal fragen am richtigen Schalter stehen? Organisieren mehrerer Verbindungen, Rücktour? Sitzplatzreservierung? (An verschieden Schaltern, realistisch??). Outcome Schaltergruppe? Wirkt grad konstruiert, irgendwie.   /Tim

2. oder ganz anders?

 Soweit waren wir gekommen - es ist spät, mein Kopf will nicht mehr. Morgen geht's weiter ;)
  /Tim

Mein grundsätzliches Problem ist derzeit, dass ich keine konkrete Idee davon hab, wie ein ausformulierter Task denn eigentlich aussieht. Der theoretische Hintergrund sagt mir, welche Gedanken dahinter stehen sollen und was dabei rauskommen soll, aber wie so was ablaufen könnte...

Angenommen wir teilen die Schüler wirklich in Gruppen ein, wie viel können wir den einzelnen Gruppenmitgliedern vorgeben?
S1: You're at Kingsway Station in London, and you want to go to Birmingham (?!?). Your train leaves in 15min and you still have no ticket.
 Soweit so gut.
 S2-S4: Diese Schüler könnten verschiedene Aufgaben zugewiesen bekommen (Blumenhändler, anderer Reisender, Mensch am Ticketschalter...). Wie aber stellen wir sicher, dass S1 wirklich mit allen anderen redet, damit alle ihren Sprechanteil haben?

 Alternativ könnte man die Schüler auch von Deutschland recherchieren lassen, was sie tun müssten, um an einem gesetzten Datum in Birmingham anzukommen. Da wäre Zugang zum Internet nötig. Zusätzlich müsste man den Schülern (englischsprachige) Internetadressen oder Suchoptionen vorgeben, mit denen sie rausfinden können, wann welcher Flug geht, wie sie mit welchem Bus zum nächsten Bahnhof kommen und welcher Zug dann schließlich nach Birmingham fährt. Das wäre dann aber nicht mehr auf Kommunikation ausgelegt, sondern würde eher die reading skills betreffen... Telefonate mit England können wir da eher ausschließen...
--[[User:Bastian Martens|Bastian Martens]] 09:48, 23 May 2008 (CEST)

C&P-Group

2008-05-20T16:21:53Z

Bastian Martens:

Those who participate know what this is all about...

It would be best if we used this page to collect our results, after we've discussed what we're going to do on the [[talk:C&P-Group|discussion page]]...

----

'''Task-Entwicklung'''

*Kern-Curriculum Schuljahrgänge 7/8 Gymnasium
* Lernziel: Die Schülerinnen und Schüler können sich in alltäglichen Situationen verständigen und dabei einfache Wendungen gebrauchen, um Dinge zu erbitten und zu geben, Informationen zu erfragen und zu besprechen, was man als Nächstes tun sollte.
*Erster Gedanke: Wir konfrontieren die Schüler mit dem Problem, dass sie in London am Bahnhof stehen und kurz vor Abfahrt ihres Zuges noch kein Ticket haben...

Und nu?!?

C&P-Group

2008-05-20T16:20:28Z

Bastian Martens:

Those who participate know what this is all about...

It would be best if we used this page to collect our results, after we've discussed what we're going to do on the discussion page...

----

'''Task-Entwicklung'''

*Kern-Curriculum Schuljahrgänge 7/8 Gymnasium
* Lernziel: Die Schülerinnen und Schüler können sich in alltäglichen Situationen verständigen und dabei einfache Wendungen gebrauchen, um Dinge zu erbitten und zu geben, Informationen zu erfragen und zu besprechen, was man als Nächstes tun sollte.
*Erster Gedanke: Wir konfrontieren die Schüler mit dem Problem, dass sie in London am Bahnhof stehen und kurz vor Abfahrt ihres Zuges noch kein Ticket haben...

Und nu?!?

C&P-Group

2008-05-20T16:18:39Z

Bastian Martens:

Those who participate know what this is all about...

As we're not going to use this page to present our results, we can as well discuss our work here instead of using the discussion page.

----

'''Task-Entwicklung'''

*Kern-Curriculum Schuljahrgänge 7/8 Gymnasium
* Lernziel: Die Schülerinnen und Schüler können sich in alltäglichen Situationen verständigen und dabei einfache Wendungen gebrauchen, um Dinge zu erbitten und zu geben, Informationen zu erfragen und zu besprechen, was man als Nächstes tun sollte.
*Erster Gedanke: Wir konfrontieren die Schüler mit dem Problem, dass sie in London am Bahnhof stehen und kurz vor Abfahrt ihres Zuges noch kein Ticket haben...

Und nu?!?

2008 MM Present US-Cinema and the Death Penalty

2008-05-15T09:21:46Z

Bastian Martens: /* • 16.05.2008: The legal system on trial */

{|align=right width=350px style="margin-left:40px;margin-bottom:30px" cellpadding="20"
|bgcolor=#F4FED8|
(Option - see my letter on the [[2008_MM_Present_US-Cinema_and_the_Death_Penalty#.E2.80.A2_16.05.2008:_The_legal_system_on_trial|next session]] for details.

[http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003),

'''Thursday, May 15, 20.45, my place, Tannenkampstr. 12'''

(you supply drink, I'll supply food), --[[User:Olaf Simons|Olaf Simons]] 11:24, 14 May 2008 (CEST)
|}
* Fr 14 - 16
* A10 1-121a
* [[User:Olaf Simons|Olaf Simons]]
*[[Mastermodul]] Klausurvorbereitend: American Studies

The implementation of the death penalty is one of the major cultural differences between the US and Europe today. A number of movies have over the past two decades dealt with, if not effectively fuelled, the public controversy about capital punishment. The seminar will analyse and discuss some of these films against the background of the present debate and in a comparison with movies in which vigilante or self-administered justice and poetic justice create a form of capital punishment - more or less provocatively - beyond the reach of the public debate.

==• 11.04.2008: Introduction==
Discussion of the seminar plan and modes of participation.

==• 18.04.2008: Emotional imbalances: ''Dead Man Walking'' (1995)==
*Dead Man Walking (1995)
Plot line, emotional balance, sympathies and how they are created, political messages.

==• 25.04.2008: The reception of ''Dead Man Walking'' (1995)==
'''Wednesday, 23, 2008, 20:45''' my place, Tannenkampstr. 12: Krzysztof Kieslowski, Ein kurzer Film über das Töten (Poland 1988) [http://de.wikipedia.org/wiki/Ein_kurzer_Film_%C3%BCber_das_T%C3%B6ten German wikipedia]

'''Course preparation'''

''Dead Man Walking'' (1995) as an influential film - debates it managed to raise, debates which just joined the ongoing debate. We need a presentation on the reception history of the film (worth an ensuing seminar paper).

We will have three short presentations on the death penalty focussing on its more ore less "humane" modalities
*Antje + Marie Katrin: A historical perspective. Background: Michel Foucault ''Discipline and Punish'' (1975). See [http://en.wikipedia.org/wiki/Discipline_and_Punish wikipedia] on the subject and read the first pages of the book which should be available in the library (you may refer to the German translation ''Überwachen und Strafen''). Another good book on the subject is Cesare Beccaria's (1738-1794) ''Of Crimes and Punishments'', available on the web in English: [http://www.constitution.org/cb/crim_pun.htm ''Of Crimes and Punishments'' (1764)].
*Philipp promised to take a look at the present US-debate - a good starting point is again [http://en.wikipedia.org/wiki/Capital_punishment_in_the_United_States wikipedia] where you will find a chapter on methods used in the US.
*Jochen: will take a look at the general debate of humane executions. A good starting point are the links you get if you google Michael Portillo on the subject [http://www.google.com/search?num=100&hl=en&newwindow=1&safe=off&q=%22Michael+Portillo%22+%22humane+execution%22&btnG=Search]

All others are requested to take a look at the reception of the film and to feed their information into this page: [[Tim Robbins (dir.), Dead Man Walking (1995 film)|Dead Man Walking (USA 1995)]]. Give your link and a summary of your result. We should get an idea of the debate the film was able to produce to then compare this debate with the debate we had in class.

==• 02.05.2008: Truth and fiction==
* ''Dead Man Walking'' (1995)
* ''Redemption: The Stan Tookie Williams Story'' (2004)
Both films dealt with actual cases. Was this link to reality important? How was it used in the film and in the ensuing debate?

Some Links:

*http://www.tookie.com/tookie_fact_sheet_10.18.05.pdf
*http://da.co.la.ca.us/pdf/swilliams.pdf
*http://www.savetookie.org/ // http://www.tookie.com/
*Snoop Dogg at San Quentin Prison speaking on Tookie http://de.youtube.com/watch?v=qASQBKwngsE&feature=related
::--[[User:Sonja|Sonja Büsing]] 13:30, 02.05.2008

==• 09.05.2008: The dark side==
*''Monster’s Ball'' (2001)
*''Identity'' (2003)
*''The Green Mile'' (1999)
The capital punishment seems to have a dark side - how is this dark side connected with the general appeal of the death penalty?

==• 16.05.2008: The legal system on trial==
*''A Time to Kill'' (1996)
*''Last Dance'' (1996)

A number of films focuses on loop holes of the American legal system - a potentially problematic issue we should connect with the ''Dirty Harry'' (with their potentially straight solutions) later on

----

'''second thoughts'''

Dear Participants of my Seminar on Capital Punishment in US Movies,

I still have not quite made up my mind about how we should proceed. I wanted to see a larger number of these films to get an idea of the "genre" - if one can speak of such a genre.

...and I think one can. People have ideas about what a movie of "this kind" should include. The advertising material for ''Monster's Ball'' proves the existence of the genre by denying that this film fits into it. ''Last Dance'' on the other hand blatantly exploits the genre conventions (of which I'd like to have the clearer picture) - at times ''Last Dance'' is almost a copy of ''Dead Man Walking'' though with reversed roles.

*Option one: We take a look into ''Last Dance'' - the debate might be flat at the moment, it might circle around ''Dead Man Walking'' as the movie with which one will compare the film.
*Option two: We take another look at ''Green Mile'' - I had a problem with the video projector last time and would make sure that we won't have the same problem again. Contra-indication here: It might be difficult to get an interesting discussion, since I did not plan two sessions with distinct topics before hand. I still have my own questions - yet I realised it is difficult to give them momentum: I am intrigued about this kind of magic realism. It makes me feel uneasy. I have spent some thoughts on this uneasiness over the weekend and realised it is a general problem I have with materials which want to be interpreted. It is the role of the intended interpretation per se which makes me ask for a cultural theory of such materials and their potentials (a difficult topic).
*Option three: We change the plan an move on to ''David Gale'' for next session. As you know I did not like the film - wondering whether it does not blatantly discredit the movement of human rights activists opposing capital punishment. I would offer an option to watch the movie at my place tomorrow, Thursday, 20.45 pm.

The reshuffling of the schedule could give us a chance to directly move on to Robert Altman's film and to use the questions Altman asks for the more interesting debate of ''Last Dance'' and ''True Crime'' in the ensuing sessions.

I am slightly in favour of option three - need, however, your consent to prepare ''David Gale'' for Friday.

I am also still waiting for the clearer picture of your personal plans of seminar-work. The seminar will not become interesting if you do not turn it into the platform on which you take your first steps into the works you intend to write. I want you to use the seminar to test observations and ideas and to get feedback from your colleagues,

best, --[[User:Olaf Simons|Olaf Simons]] 11:07, 14 May 2008 (CEST)

::PS ''Last Dance'' would (if we took option three) become part of three sessions circling around Altman's film. ''A Time to Kill'' would move into the self administered justice section. ''True Crime'' and ''Dirty Harry'' would move closer together.

---

* I'd prefer option three just because I didn't like the "Green Mile" too much. Heard quite a lot about "David Gale" and would like to see it. (Marie-Ann Mowka)
* ''David Gale'' would be okay, although I'd like to further discuss ''The Green Mile'', as well. However, maybe we should discuss the further outline of the seminar in the next session, which would give us the possibility to shift the postion of some films... --[[User:Bastian Martens|Bastian Martens]] 11:21, 15 May 2008 (CEST)

==• 23.05.2008: The educated public on trial==
*''True Crime'' (1999)
*''Execution'' (2007)
These movies focus on journalists dealing with the controversial issue.

==• 30.05.2008: Human rights activists on trial==
*''The Life of David Gale'' (2003)
''The Life of David Gale'' (2003) is probably the worst movie on the list - worth examining as a questionable item.

==• 06.06.2008: Hollywood on trial==
*''The Player'' (1992)
Invites a reevaluation of the films we have seen so far.

==• 13.06.2008: The separation of powers suspended: Or the cop as judge and executioner==
*''Dirty Harry'' (1971-1888)
We should take a look at the development and compare Eastwood's role here with his role in ''True Crime'' (1999)

==• 20.06.2008: The separation of powers suspended: Or the citizen as judge and executioner==
* ''A Time to Kill'' (1996)
* ''The Brave One'' (2007)
* ''Death Sentence'' (2007)
''A Time to Kill'' (1996) was already on the agenda in session 6 (May 16). The two new movies are recent productions able to reflect the public opinion on a much broader field of issues from gun control to the question of state authority. (A special question: does it matter that Jodie Foster acted in Taxi Driver before?

==• 27.06.2008: Poetic justice==
I leave this session open. There are numerous movies in which dangerous criminals challenge the police or the public - and have to die eventually. We have seen that the state can do the bloody job in the end, we have seen that individuals can take things into their own hands - a third option should be touched with all those films in which the criminal eventually kills himself, in an act of suicide or accidentally - punished by his own perverse drive or a higher justice (if we want to risk that interpretation).

==• 04.07.2008: Teaching the topic==
The session might take some of its inspiration from http://www.deathpenalty.org/pdf_files/CurriculumFeb.2006.pdf - a proposal of how the topic could be taught at school.

==• 11.07.2008: Final session==
Look back on the seminar and my feedback on the seminar evaluation.

===Topics===
====Background information====
* The history of the death penalty and Foucault's work.
* The legal status in the US
* Pro and contra: interest groups
* The question of method - from electrocution to the lethal injection - what is the function of the debate?
* Religion and the death penalty

====Seminar papers====
Be creative! And open a special section on the [[Talk:2008 MM Present US-Cinema and the Death Penalty|Discussion page]] to give outlines of topics you are interested in.

=== Films in which the death penalty plays a major role ===

* [http://www.imdb.com/title/tt0972554/ ''Execution''] (2007) directed by Steven Scaffidi. In the year 1995 two filmmakers gained access to death row and filmed the final seven days of a man before he got executed. The Warden confiscated the film footage, but ten years later the filmmakers get the film footage back.

* [http://en.wikipedia.org/wiki/Redemption:_The_Stan_Tookie_Williams_Story ''Redemption: The Stan Tookie Williams Story''] (2004) (TV) Film directed by Vondie Curtis-Hall and starring Jamie Foxx. The film is based on the true story of Stan "Tookie" Williams, founder of the "Crips", a street gang in L.A. He was accused of murder, prisoned and executed. While in Death Row, he started writing children's novels, which earned him Nobel Peace Prize nominations. [http://www.imdb.com/title/tt0388367/ IMDb]

* [http://en.wikipedia.org/wiki/Identity_%28film%29 ''Identity''] (2003) directed by James Mangold. Is it possible/legal to sentence someone to death who's got "multiple personality"? Which of these "personalities" is sentenced to death? [http://www.sonypictures.com/homevideo/identity/index.html www.sonypictures.com] [http://www.imdb.com/title/tt309698/ IMDb]

* [http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003) directed by Alan Parker, starring Kate Winslet and Kevin Spacey. An acitivist against the death penalty is accused of murdering a fellow activist and is sentenced to death. While he is in prison, he tells his story to a reporter in flashbacks. http://www.thelifeofdavidgale.com/ [http://www.imdb.com/title/tt0289992/ IMDb]

* [http://en.wikipedia.org/wiki/Monster_%28film%29 ''Monster''] (2003) directed by Patty Jenkins Adapting the true story of female serial killer Aileen Wuornos, a former prostitute who was executed in 2002 for killing seven men in the late 1980s and early 1990s. [http://www.imdb.com/title/tt0340855/ IMDb] not ordered for library

* [http://en.wikipedia.org/wiki/Monster%27s_ball ''Monster’s Ball''] (2001) directed by Marc Foster, starring Oscar-Winner Halle Barry and Billy Bob Thornton. Thornton plays a racist prison guard who falls in love with the wife of the last prisoner he executed and reexamines his own attitudes. [http://www.imdb.com/title/tt0285742/ IMDb]

* [http://en.wikipedia.org/wiki/The_Green_Mile_%28film%29 ''The Green Mile''] (1999) directed by Frank Darabont, starring Tom Hanks and Micheal Clarke Duncan. The lives of prison guards leading the condemned prisoners to their executions, one of them went to prison on false accusation. http://thegreenmile.warnerbros.com/ [http://www.imdb.com/title/tt0120689/ IMDb]

* [http://en.wikipedia.org/wiki/True_Crime_%281999_film%29 ''True Crime''] (1999) directed by Clint Eastwood, based on Andrew Klavan's novel, who also wrote the screenplay. Frank Beachum was sentenced to death but claims to be innocent. Steve Everett played by Eastwood is a journalist who attempts to find the truth about the murder. [http://www.truecrimethemovie.com/ www.truecrimethemovie.com] [http://www.imdb.com/title/tt0139668/ IMDb]

* [http://en.wikipedia.org/wiki/Last_Dance_%28film%29 ''Last Dance''] (1996) directed by Bruce Beresford. [http://www.imdb.com/title/tt0116827/ IMDb]

* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995) directed by Tim Robbins, starring Susan Sarandon and Sean Penn. [http://www.imdb.com/title/tt0112818/ IMDb]

* [http://en.wikipedia.org/wiki/The_Player ''The Player''] (1992) directed by Robert Altman using a screenplay by Michael Tolkin based on his own novel. [http://www.imdb.com/title/tt0105151/ IMDb]

=== Films in which self-administered justice becomes a major topic ===

* [http://en.wikipedia.org/wiki/Death_Sentence_%28film%29 ''Death Sentence''] (2007) A drama directed by James Wan. With Kevin Bacon, John Goodman and Kelly Preston. An executive witnesses a crime that changes his life. He wants to protect his family and seeks revenge. [http://www.deathsentencemovie.com/ www.deathsentencemovie.com] [http://www.imdb.com/title/tt0804461/ IMDb]

* [http://en.wikipedia.org/wiki/The_Brave_One_%282007_film%29 ''The Brave One''] (2007) directed by Neil Jordan, starring Jodie Foster. A mayhem victim avenges the death of her husband under the protection of the police officer who is supposed to solve the case. [http://thebraveone.warnerbros.com/ www.thebraveone.warnerbros.com] [http://www.imdb.com/title/tt0476964/ IMDb]

* [http://en.wikipedia.org/wiki/The_Punisher_%282004_film%29 ''The Punisher''] (2004) directed by Jonathan Hensleigh. After his wife and family are killed, Frank Castle takes it upon himself to distribute punishment to those responsible for the vendetta. [http://www.punishermovie.com/ www.punishermovie.com] [http://www.imdb.com/title/tt0330793/ IMDb]

*[http://en.wikipedia.org/wiki/Double_Jeopardy_(film) ''Double Jeopardy''] (1999) directed by Bruce Beresford, starring Ashley Judd and Tommy Lee Jones. An innocent woman is sentenced to death for the murder of her husband. While in prison, she discovers that her husband is still alive and that he and her best friend betrayed her. After her release on probation, she wants to take revenge; based on the American law that a person cannot be re-accused of the same crime. [http://www.imdb.com/title/tt0150377/ IMDb]

*[http://en.wikipedia.org/wiki/A_Time_to_Kill_(film) ''A Time to Kill''] (1996) based on the novel written by John Grisham. A father takes revenge on the rapists of his daughter. [http://www.imdb.com/title/tt0117913/ IMDb]

* [http://en.wikipedia.org/wiki/Dirty_Harry ''Dirty Harry''] (1971) with its sequels which handle the topic of vigilante justice in variations till [http://en.wikipedia.org/wiki/The_Dead_Pool ''The Dead Pool''] (1988).

=== Films in which the accidental death of the criminal reestablishes a higher justice ===

=== Documentary films (German/additional/available at the university library) ===

* Dubois, Jean-Paul. ''Henker erzählen: Todesstrafe in den USA.'' Frankreich, 2004. Fernsehmitschnitt Sw: USA. Fernsehmitschnitt: WDR, 22.10.2004. (VHS, farb., 50 Min.) (Dokumentation über Henker in den USA, die sich kritisch mit ihrer Arbeit und der Todesstrafe auseinandersetzen)

* Kessel, Julie von. ''The Innocence Project.'' Deutschland, 2002. Fernsehmitschnitt: Arte, 03.12.2002. (VHS, farb., 20 Min.) (Bericht über ein DNA-Projekt der New Yorker Columbia University, das sich mit Schuld oder Unschuld zum Tode Verurteilter beschäftigt.)

* Steinberg, Klaus; Bock, Astrid. ''Leben mit der Hinrichtung: Begegnungen im Todestrakt.'' Deutschland, 1997. Fernsehmitschnitt: ZDF (37 Grad), 12.08.1997. (VHS, farb., 30 Min.') (Bericht über zum Tode verurteilte Häftlinge in den USA.)

* Walwin, Kent; Trombley, Stephen [Reg.]. ''L 'état meurtrier'' = Der Staat als Mörder. Deutschland/Frankreich, 1996. Fernsehmitschnitt: ARTE, 21.3.1996, 20,45 Uhr. (VHS, Zweikanalton, Monospur dt., farb., 75 Min.) (Auseinandersetzung um die Todesstrafe vom Ursprung bis zur heutigen Praxis in den USA)

* Hoewijk, Jaap van. ''Procedure 769: a hanging.'' Niederlande, 1995. Fernsehmitschnitt: West 3, 15.4.1996, 23,00 Uhr. (VHS, farb., 80 Min) (Der Film geht der Frage nach, warum Angehörige des Täters und der Opfer von Robert A. Harris dessen Hinrichtung beiwohnten.)

* Leacock, Richard; Pennebaker, Don Alan. ''The chair'' = Der Stuhl. Monospur dt., Stereospur engl. USA, 1963. Fernsehmitschnitt: Arte, 18.10.1996. (VHS, s/w, 75 Min.) (Documentary about the death sentence.)

* Reinhold, Frank. ''Take care'' = Gib auf dich acht! Deutschland, 1997. Fernsehmitschnitt: ARTE, 10.6.1997. (VHS, Zweikanalton, Monospur dt., Stereospur franz., farb., 60 Min.) (Die Liebesgeschichte zwischen dem in den USA zum Tode verurteilten Schwarzen Arthur Lee Williams und einer Deutschen von Amnesty International.)

===Literature===
MLA on "Death Penalty", "Capital Punishment", "Execution", "The Player"

'''2007'''
*Tolkin, Michael. "[Fiction into Film.]" ''BookForum: The Review for Art, Fiction, & Culture'', 14:2 (2007 June-Aug), pp. 36-37. [Subject Terms: American literature; 1900-1999; Tolkin, Michael (1950-): The Player (1988); novel; film adaptation; by Altman, Robert (1925-2006).]

'''2006'''
* O'Shea, Kathleen. Killing the Killers: Women on Death Row in the United States. pp. 67-82. Burfoot, Annette (ed. and introd.) Lord, Susan (ed. and introd.). ''Killing Women: The Visual Culture of Gender and Violence'' Cultural Studies Series. 6. Waterloo, ON: Wilfred Laurier UP, 2006. xxii, 328 pp. (Book article) [Subject Terms: Dramatic arts; television; in United States; 1998; treatment of women murderers; religious conversion; relationship to capital punishment; social conventions; of femininity; objectification.]

'''2005'''
* George, Diana and Shoos, Diane. "Deflecting the Political in the Visual Images of Execution and the Death Penalty Debate". ''College English'', 67:6 (2005 July), pp. 587-609. (Journal article) [Subject Terms: Dramatic arts; film; treatment of capital punishment; compared to photographs; of lynching; relationship to witness; voyeurism.]
*Poirot, Valérie. Cinéma et engagement: Représentations de la peine de mort et images d'exécution dans les productions américaines et françaises. ''Dissertation Abstracts International, Section A: The Humanities and Social Sciences'', 66:3 (2005 Sept), p. 798. (Dissertation abstract) [Subject Terms: Dramatic arts; film; in France; United States; 1970-1999; treatment of execution.]
* Reinelt, Janelle. "The Ambivalence of Catholic Compassion". ''Journal of Dramatic Theory and Criticism'', 20:1 (2005 Fall), pp. 103-12. (Journal article) [Subject Terms: American literature; 1900-1999; Prejean, Helen (1939-): Dead Man Walking (1993); prose; treatment of capital punishment; relationship to Christianity.]
*Schuyler, Michael T. "'Traffic Was a Bitch': Gender, Race and Spectatorship in Robert Altman's The Player." ''Journal of Narrative Theory'', 35:2 (2005 Summer), pp. 218-47. (Journal article) [Subject Terms: Dramatic arts; film; treatment of women; blacks; relationship to spectator; in Altman, Robert (1925-2006): The Player (1992).]

'''2003'''
* Horeck, Tanya. "From Documentary to Drama: Capturing Aileen Wuornos." ''Screen'', 48:2 (2007 Summer), pp. 141-59. [Treatment of Wuornos, Aileen (1956-2002); women murderers; capital punishment; in Broomfield, Nicholas (1948-) and Churchill, Joan: Aileen: Life and Death of a Serial Killer (2003) compared to Jenkins, Patty (1971-): Monster (2003).] see: [http://en.wikipedia.org/wiki/Aileen_Wuornos:_The_Selling_of_a_Serial_Killer en.wikipedia.org]
*Goldsmith, David F. "Monster." ''Creative Screenwriting'', 11:1 (2004 Jan-Feb), pp. 30-31. (Journal article) [Subject Terms: Dramatic arts; film; film genres; crime film; treatment of prostitute; sexual abuse; relationship to revenge; capital punishment; in Jenkins, Patty: Monster (2003).]
* Meranze, Michael. "Michel Foucault, the Death Penalty and the Crisis of Historical Understanding." ''Historical Reflections/Réflexions Historiques,'' 29:2 (2003 Summer), pp. 191-209. (Journal article) [Subject Terms: French literature; 1900-1999; Foucault, Michel (1926-1984): L'Histoire de la sexualité (1976); History of Sexuality: "Il faut défendre la société"; prose; treatment of capital punishment; relationship to war; race; power.]
* Parker, Alan. "Gale Force: My Personal Journey to a Death Row Drama." ''Film Journal International'', 106:2 (2003 Feb), p. 12, 30. (Journal article) [Subject Terms: Dramatic arts; film; treatment of capital punishment; in Parker, Alan (1944-): The Life of David Gale (2003); interview.]

'''1999'''
*Neubert, Ingo. "Sichtweisen des Fremden: Der amerikanische Dokumentarfilm und das Lernziel interkultureller Kompetenz: Dargestellt an der Direct-Cinema-Produktion The Chair zur Situation der Todesstrafe in den USA." ''Anglistik und Englischunterricht'', 62 (1999), pp. 407-30. (Journal article) [Subject Terms: Dramatic arts; film; film genres; documentary film; treatment of capital punishment; in Drew, Robert L. (1924-): The Chair (1962).]
*Prédal, René. "The Player ou la mort du scénariste," pp. 127-47. Estève, Michel (ed. and introd.). ''Robert Altman.'' Paris, France: Minard, 1999. 209 pp. [Subject Terms: American literature; 1900-1999; Tolkin, Michael (1950-): The Player (1988); novel; intertextuality; plot; relationship to Hollywood; in screenplay; for film adaptation; by Altman, Robert (1925-).]
* Stoekl, Allan. "Execution and the Human." ''Intertexts'', 3:1 (1999 Spring), pp. 3-31. (Journal article) [Subject Terms: American literature; 1900-1999; Dick, Philip K. (1928-1982): Do Androids Dream of Electric Sheep? (1968); novel; treatment of capital punishment; murder; human condition; in Scott, Ridley (1938-): Blade Runner (1982) as film adaptation compared to Kant, Immanuel (1724-1804): Metaphysische Anfangsgründe der Rechtslehre.]

'''1998'''
*Lauritzen, Paul. "The Knowing Heart: Moral Argument and the Appeal to Experience". ''Soundings: An Interdisciplinary Journal'', 81:1-2 (1998 Spring-Summer), pp. 213-34. (Journal article) [Subject Terms: American literature; 1900-1999; Prejean, Helen (1939-): Dead Man Walking (1993); prose; treatment of capital punishment; relationship to morality; experience.]

'''1997'''
* Guest, David. ''Sentenced to Death: The American Novel and Capital Punishment.'' Jackson, MS: UP of Mississippi, 1997. xx, 179 pp. (Book) [Subject Terms: American literature; 1900-1999; novel; treatment of capital punishment.]
*Nayman, Ira. "The Adaptable Altman." ''Creative Screenwriting,'' 4:3 (1997 Fall), pp. 84-96. [Subject Terms: American literature; 1900-1999; Chandler, Raymond (1888-1959): The Long Goodbye (1954); novel; and Tolkin, Michael (1950-): The Player (1988); Carver, Raymond (1936-1988); role of film adaptation; by Altman, Robert (1925-).]

'''1994'''
*Danziger, Marie. "Basic Instinct: Grappling for Post-Modern Mind Control." ''Literature/Film Quarterly,'' 22:1 (1994), pp. 7-10. [Subject Terms: Dramatic arts; film; treatment of power; in Verhoeven, Paul (1938-): Basic Instinct (1992); Altman, Robert (1925-2006): The Player (1992)]
*Pilipp, Frank. "Satirizing Hollywood: The Self-Referentiality of Robert Altman's The Player: Co-Sponsored by the Virginia Humanities Conf. and the Virginia Center for Media and Culture," pp. 80-84. Schwartz, Joel (introd.). ''Proceedings of the Conference on Film and American Culture.'' Williamsburg: Roy R. Charles Center, College of William and Mary, 1994. 111 pp.

'''1992'''
*Richolson, Janice. "The Player: An Interview with Robert Altman." ''Cineaste: America's Leading Magazine on the Art and Politics of the Cinema,''' 19:2-3 (1992), p. 61.

=== Further reading (available at the library) ===

* Amnesty International. ''Todesstrafe in den USA.'' Frankfurt am Main: Fischer-Taschenbuch-Verlag, 1989.

* Bedau, Hugo A. [Hrsg.] ''Capital punishment in the United States.'' New York, N.Y.: AMS Press, 1976. ISBN 0-404-10325-1

* Martschukat, Jürgen. ''Geschichte der Todesstrafe in Nordamerika: von der Kolonialzeit bis zur Gegenwart.'' 1. Ed. München: Beck, 2002. ISBN 3-406-47611-2 (Pb.)

* Sarat, Austin. ''When the State Kills: Capital Punishment and the American Condition.'' New Jersey: Princeton University Press, 2001. (not available at the library)

* Sarat, Austin. ''Crime and punishment: perspectives from the humanities.'' Vol. 37. Amsterdam: Elsevier, 2005. ISBN 0-7623-1245-9 (hbk.)

* Sarat, Austin. ''Punishment politics and culture.'' Vol. 30. Amsterdam: Elsevier, 2004. ISBN 0-7623-1072-3

* Schwed, Roger E. ''Abolition and capital punishment: the United States' judicial, political, and moral barometer.'' New York, N.Y.: AMS Press, 1983. ISBN 0-404-61623-2

====Fiction (additional) ====

* John Grisham, ''The Chamber''. New York: Doubleday, 1994.
* Victor Hugo, ''The Last Day of a Condemned Man'' [1829]. London: Hesperus Press Ltd., 2002.

=== Links ===
* [http://www.film.com/ www.film.com] Movie Trailers and Times, Reviews and Previews, Celebreties, TV, DVD etc.
* [http://elokuvantaju.uiah.fi/2001/english/study_material/study_material.jsp Cinemasense] Study material on cinematic techniques, including a word search for cinematic terms, which are explained and illustrated by film stills.
* [http://www.nitpickers.com/ nitpickers.com] Movie mistakes, movie errors, movie reviews.
* [http://www.filmsite.org/filmterms1.html Cinematic Terms - A Film-Making Glossary] Study material on cinematic terms explained and illustrated by examples.
* [http://en.wikipedia.org/wiki/Capital_punishment_in_the_United_States Capital punishment in the United States] - en.wikipedia.org
* [http://www.deathpenaltyinfo.org/ deathpenaltyinfo.org] Including a [http://www.deathpenaltyinfo.org/article.php?did=132&scid=17 List of Articles] and a [http://www.deathpenaltyinfo.org/article.php?did=130&scid=20 List of Books] on the Death Penalty.
* [http://www.deathpenalty.org/index.php?pid=main&menu=1 deathpenalty.org] "The Death Penalty Focus", an organization against the Death Penalty founded in 1988.
* [http://deathpenaltycurriculum.org/student/c/states/maps/contents.htm deathpenaltycurriculum.org/states/maps] Interactive U.S. maps on the Death Penalty, including methods of execution, homicides and use of the death penalty, and execution on death row inmates (all by state).
* [http://www.deathpenalty.org/pdf_files/CurriculumFeb.2006.pdf deathpenalty.org/pdf_files/curriculum] A pdf file showing suggested lesson plans for teachers. Including case studies, material on discussions, exams and essays, history of the Death Penalty, laws, international views and a suggested general reading list.
* Jonsson, Patrick. "Is self-defence law vigilante justice?". The Christian Science Monitor Feb. 24 2003 <http://www.csmonitor.com/2006/0224/p02s01-usju.html>
* Guarnera, Daniel. "Hard to Kill: Why Can’t the U.S. Find a Suitable Execution Method?". International Review Jan. 4 2007 <http://www.internationalistreview.com/article.php?id=52>

[[Category:Summer 2008]]
[[Category:Mastermodul]]

2008 MM Present US-Cinema and the Death Penalty

2008-05-15T09:21:19Z

Bastian Martens: /* • 16.05.2008: The legal system on trial */

{|align=right width=350px style="margin-left:40px;margin-bottom:30px" cellpadding="20"
|bgcolor=#F4FED8|
(Option - see my letter on the [[2008_MM_Present_US-Cinema_and_the_Death_Penalty#.E2.80.A2_16.05.2008:_The_legal_system_on_trial|next session]] for details.

[http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003),

'''Thursday, May 15, 20.45, my place, Tannenkampstr. 12'''

(you supply drink, I'll supply food), --[[User:Olaf Simons|Olaf Simons]] 11:24, 14 May 2008 (CEST)
|}
* Fr 14 - 16
* A10 1-121a
* [[User:Olaf Simons|Olaf Simons]]
*[[Mastermodul]] Klausurvorbereitend: American Studies

The implementation of the death penalty is one of the major cultural differences between the US and Europe today. A number of movies have over the past two decades dealt with, if not effectively fuelled, the public controversy about capital punishment. The seminar will analyse and discuss some of these films against the background of the present debate and in a comparison with movies in which vigilante or self-administered justice and poetic justice create a form of capital punishment - more or less provocatively - beyond the reach of the public debate.

==• 11.04.2008: Introduction==
Discussion of the seminar plan and modes of participation.

==• 18.04.2008: Emotional imbalances: ''Dead Man Walking'' (1995)==
*Dead Man Walking (1995)
Plot line, emotional balance, sympathies and how they are created, political messages.

==• 25.04.2008: The reception of ''Dead Man Walking'' (1995)==
'''Wednesday, 23, 2008, 20:45''' my place, Tannenkampstr. 12: Krzysztof Kieslowski, Ein kurzer Film über das Töten (Poland 1988) [http://de.wikipedia.org/wiki/Ein_kurzer_Film_%C3%BCber_das_T%C3%B6ten German wikipedia]

'''Course preparation'''

''Dead Man Walking'' (1995) as an influential film - debates it managed to raise, debates which just joined the ongoing debate. We need a presentation on the reception history of the film (worth an ensuing seminar paper).

We will have three short presentations on the death penalty focussing on its more ore less "humane" modalities
*Antje + Marie Katrin: A historical perspective. Background: Michel Foucault ''Discipline and Punish'' (1975). See [http://en.wikipedia.org/wiki/Discipline_and_Punish wikipedia] on the subject and read the first pages of the book which should be available in the library (you may refer to the German translation ''Überwachen und Strafen''). Another good book on the subject is Cesare Beccaria's (1738-1794) ''Of Crimes and Punishments'', available on the web in English: [http://www.constitution.org/cb/crim_pun.htm ''Of Crimes and Punishments'' (1764)].
*Philipp promised to take a look at the present US-debate - a good starting point is again [http://en.wikipedia.org/wiki/Capital_punishment_in_the_United_States wikipedia] where you will find a chapter on methods used in the US.
*Jochen: will take a look at the general debate of humane executions. A good starting point are the links you get if you google Michael Portillo on the subject [http://www.google.com/search?num=100&hl=en&newwindow=1&safe=off&q=%22Michael+Portillo%22+%22humane+execution%22&btnG=Search]

All others are requested to take a look at the reception of the film and to feed their information into this page: [[Tim Robbins (dir.), Dead Man Walking (1995 film)|Dead Man Walking (USA 1995)]]. Give your link and a summary of your result. We should get an idea of the debate the film was able to produce to then compare this debate with the debate we had in class.

==• 02.05.2008: Truth and fiction==
* ''Dead Man Walking'' (1995)
* ''Redemption: The Stan Tookie Williams Story'' (2004)
Both films dealt with actual cases. Was this link to reality important? How was it used in the film and in the ensuing debate?

Some Links:

*http://www.tookie.com/tookie_fact_sheet_10.18.05.pdf
*http://da.co.la.ca.us/pdf/swilliams.pdf
*http://www.savetookie.org/ // http://www.tookie.com/
*Snoop Dogg at San Quentin Prison speaking on Tookie http://de.youtube.com/watch?v=qASQBKwngsE&feature=related
::--[[User:Sonja|Sonja Büsing]] 13:30, 02.05.2008

==• 09.05.2008: The dark side==
*''Monster’s Ball'' (2001)
*''Identity'' (2003)
*''The Green Mile'' (1999)
The capital punishment seems to have a dark side - how is this dark side connected with the general appeal of the death penalty?

==• 16.05.2008: The legal system on trial==
*''A Time to Kill'' (1996)
*''Last Dance'' (1996)

A number of films focuses on loop holes of the American legal system - a potentially problematic issue we should connect with the ''Dirty Harry'' (with their potentially straight solutions) later on

----

'''second thoughts'''

Dear Participants of my Seminar on Capital Punishment in US Movies,

I still have not quite made up my mind about how we should proceed. I wanted to see a larger number of these films to get an idea of the "genre" - if one can speak of such a genre.

...and I think one can. People have ideas about what a movie of "this kind" should include. The advertising material for ''Monster's Ball'' proves the existence of the genre by denying that this film fits into it. ''Last Dance'' on the other hand blatantly exploits the genre conventions (of which I'd like to have the clearer picture) - at times ''Last Dance'' is almost a copy of ''Dead Man Walking'' though with reversed roles.

*Option one: We take a look into ''Last Dance'' - the debate might be flat at the moment, it might circle around ''Dead Man Walking'' as the movie with which one will compare the film.
*Option two: We take another look at ''Green Mile'' - I had a problem with the video projector last time and would make sure that we won't have the same problem again. Contra-indication here: It might be difficult to get an interesting discussion, since I did not plan two sessions with distinct topics before hand. I still have my own questions - yet I realised it is difficult to give them momentum: I am intrigued about this kind of magic realism. It makes me feel uneasy. I have spent some thoughts on this uneasiness over the weekend and realised it is a general problem I have with materials which want to be interpreted. It is the role of the intended interpretation per se which makes me ask for a cultural theory of such materials and their potentials (a difficult topic).
*Option three: We change the plan an move on to ''David Gale'' for next session. As you know I did not like the film - wondering whether it does not blatantly discredit the movement of human rights activists opposing capital punishment. I would offer an option to watch the movie at my place tomorrow, Thursday, 20.45 pm.

The reshuffling of the schedule could give us a chance to directly move on to Robert Altman's film and to use the questions Altman asks for the more interesting debate of ''Last Dance'' and ''True Crime'' in the ensuing sessions.

I am slightly in favour of option three - need, however, your consent to prepare ''David Gale'' for Friday.

I am also still waiting for the clearer picture of your personal plans of seminar-work. The seminar will not become interesting if you do not turn it into the platform on which you take your first steps into the works you intend to write. I want you to use the seminar to test observations and ideas and to get feedback from your colleagues,

best, --[[User:Olaf Simons|Olaf Simons]] 11:07, 14 May 2008 (CEST)

::PS ''Last Dance'' would (if we took option three) become part of three sessions circling around Altman's film. ''A Time to Kill'' would move into the self administered justice section. ''True Crime'' and ''Dirty Harry'' would move closer together.

---

* I'd prefer option three just because I didn't like the "Green Mile" too much. Heard quite a lot about "David Gale" and would like to see it. (Marie-Ann Mowka)
* ''David Gale'' would be okay, although I'd like to further discuss ''The Green Mile'', as well. However, maybe we should discuss the further outline of the seminar in the next session, which would give us the possibility to shift the postion of some films...

==• 23.05.2008: The educated public on trial==
*''True Crime'' (1999)
*''Execution'' (2007)
These movies focus on journalists dealing with the controversial issue.

==• 30.05.2008: Human rights activists on trial==
*''The Life of David Gale'' (2003)
''The Life of David Gale'' (2003) is probably the worst movie on the list - worth examining as a questionable item.

==• 06.06.2008: Hollywood on trial==
*''The Player'' (1992)
Invites a reevaluation of the films we have seen so far.

==• 13.06.2008: The separation of powers suspended: Or the cop as judge and executioner==
*''Dirty Harry'' (1971-1888)
We should take a look at the development and compare Eastwood's role here with his role in ''True Crime'' (1999)

==• 20.06.2008: The separation of powers suspended: Or the citizen as judge and executioner==
* ''A Time to Kill'' (1996)
* ''The Brave One'' (2007)
* ''Death Sentence'' (2007)
''A Time to Kill'' (1996) was already on the agenda in session 6 (May 16). The two new movies are recent productions able to reflect the public opinion on a much broader field of issues from gun control to the question of state authority. (A special question: does it matter that Jodie Foster acted in Taxi Driver before?

==• 27.06.2008: Poetic justice==
I leave this session open. There are numerous movies in which dangerous criminals challenge the police or the public - and have to die eventually. We have seen that the state can do the bloody job in the end, we have seen that individuals can take things into their own hands - a third option should be touched with all those films in which the criminal eventually kills himself, in an act of suicide or accidentally - punished by his own perverse drive or a higher justice (if we want to risk that interpretation).

==• 04.07.2008: Teaching the topic==
The session might take some of its inspiration from http://www.deathpenalty.org/pdf_files/CurriculumFeb.2006.pdf - a proposal of how the topic could be taught at school.

==• 11.07.2008: Final session==
Look back on the seminar and my feedback on the seminar evaluation.

===Topics===
====Background information====
* The history of the death penalty and Foucault's work.
* The legal status in the US
* Pro and contra: interest groups
* The question of method - from electrocution to the lethal injection - what is the function of the debate?
* Religion and the death penalty

====Seminar papers====
Be creative! And open a special section on the [[Talk:2008 MM Present US-Cinema and the Death Penalty|Discussion page]] to give outlines of topics you are interested in.

=== Films in which the death penalty plays a major role ===

* [http://www.imdb.com/title/tt0972554/ ''Execution''] (2007) directed by Steven Scaffidi. In the year 1995 two filmmakers gained access to death row and filmed the final seven days of a man before he got executed. The Warden confiscated the film footage, but ten years later the filmmakers get the film footage back.

* [http://en.wikipedia.org/wiki/Redemption:_The_Stan_Tookie_Williams_Story ''Redemption: The Stan Tookie Williams Story''] (2004) (TV) Film directed by Vondie Curtis-Hall and starring Jamie Foxx. The film is based on the true story of Stan "Tookie" Williams, founder of the "Crips", a street gang in L.A. He was accused of murder, prisoned and executed. While in Death Row, he started writing children's novels, which earned him Nobel Peace Prize nominations. [http://www.imdb.com/title/tt0388367/ IMDb]

* [http://en.wikipedia.org/wiki/Identity_%28film%29 ''Identity''] (2003) directed by James Mangold. Is it possible/legal to sentence someone to death who's got "multiple personality"? Which of these "personalities" is sentenced to death? [http://www.sonypictures.com/homevideo/identity/index.html www.sonypictures.com] [http://www.imdb.com/title/tt309698/ IMDb]

* [http://en.wikipedia.org/wiki/The_Life_of_David_Gale ''The Life of David Gale''] (2003) directed by Alan Parker, starring Kate Winslet and Kevin Spacey. An acitivist against the death penalty is accused of murdering a fellow activist and is sentenced to death. While he is in prison, he tells his story to a reporter in flashbacks. http://www.thelifeofdavidgale.com/ [http://www.imdb.com/title/tt0289992/ IMDb]

* [http://en.wikipedia.org/wiki/Monster_%28film%29 ''Monster''] (2003) directed by Patty Jenkins Adapting the true story of female serial killer Aileen Wuornos, a former prostitute who was executed in 2002 for killing seven men in the late 1980s and early 1990s. [http://www.imdb.com/title/tt0340855/ IMDb] not ordered for library

* [http://en.wikipedia.org/wiki/Monster%27s_ball ''Monster’s Ball''] (2001) directed by Marc Foster, starring Oscar-Winner Halle Barry and Billy Bob Thornton. Thornton plays a racist prison guard who falls in love with the wife of the last prisoner he executed and reexamines his own attitudes. [http://www.imdb.com/title/tt0285742/ IMDb]

* [http://en.wikipedia.org/wiki/The_Green_Mile_%28film%29 ''The Green Mile''] (1999) directed by Frank Darabont, starring Tom Hanks and Micheal Clarke Duncan. The lives of prison guards leading the condemned prisoners to their executions, one of them went to prison on false accusation. http://thegreenmile.warnerbros.com/ [http://www.imdb.com/title/tt0120689/ IMDb]

* [http://en.wikipedia.org/wiki/True_Crime_%281999_film%29 ''True Crime''] (1999) directed by Clint Eastwood, based on Andrew Klavan's novel, who also wrote the screenplay. Frank Beachum was sentenced to death but claims to be innocent. Steve Everett played by Eastwood is a journalist who attempts to find the truth about the murder. [http://www.truecrimethemovie.com/ www.truecrimethemovie.com] [http://www.imdb.com/title/tt0139668/ IMDb]

* [http://en.wikipedia.org/wiki/Last_Dance_%28film%29 ''Last Dance''] (1996) directed by Bruce Beresford. [http://www.imdb.com/title/tt0116827/ IMDb]

* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995) directed by Tim Robbins, starring Susan Sarandon and Sean Penn. [http://www.imdb.com/title/tt0112818/ IMDb]

* [http://en.wikipedia.org/wiki/The_Player ''The Player''] (1992) directed by Robert Altman using a screenplay by Michael Tolkin based on his own novel. [http://www.imdb.com/title/tt0105151/ IMDb]

=== Films in which self-administered justice becomes a major topic ===

* [http://en.wikipedia.org/wiki/Death_Sentence_%28film%29 ''Death Sentence''] (2007) A drama directed by James Wan. With Kevin Bacon, John Goodman and Kelly Preston. An executive witnesses a crime that changes his life. He wants to protect his family and seeks revenge. [http://www.deathsentencemovie.com/ www.deathsentencemovie.com] [http://www.imdb.com/title/tt0804461/ IMDb]

* [http://en.wikipedia.org/wiki/The_Brave_One_%282007_film%29 ''The Brave One''] (2007) directed by Neil Jordan, starring Jodie Foster. A mayhem victim avenges the death of her husband under the protection of the police officer who is supposed to solve the case. [http://thebraveone.warnerbros.com/ www.thebraveone.warnerbros.com] [http://www.imdb.com/title/tt0476964/ IMDb]

* [http://en.wikipedia.org/wiki/The_Punisher_%282004_film%29 ''The Punisher''] (2004) directed by Jonathan Hensleigh. After his wife and family are killed, Frank Castle takes it upon himself to distribute punishment to those responsible for the vendetta. [http://www.punishermovie.com/ www.punishermovie.com] [http://www.imdb.com/title/tt0330793/ IMDb]

*[http://en.wikipedia.org/wiki/Double_Jeopardy_(film) ''Double Jeopardy''] (1999) directed by Bruce Beresford, starring Ashley Judd and Tommy Lee Jones. An innocent woman is sentenced to death for the murder of her husband. While in prison, she discovers that her husband is still alive and that he and her best friend betrayed her. After her release on probation, she wants to take revenge; based on the American law that a person cannot be re-accused of the same crime. [http://www.imdb.com/title/tt0150377/ IMDb]

*[http://en.wikipedia.org/wiki/A_Time_to_Kill_(film) ''A Time to Kill''] (1996) based on the novel written by John Grisham. A father takes revenge on the rapists of his daughter. [http://www.imdb.com/title/tt0117913/ IMDb]

* [http://en.wikipedia.org/wiki/Dirty_Harry ''Dirty Harry''] (1971) with its sequels which handle the topic of vigilante justice in variations till [http://en.wikipedia.org/wiki/The_Dead_Pool ''The Dead Pool''] (1988).

=== Films in which the accidental death of the criminal reestablishes a higher justice ===

=== Documentary films (German/additional/available at the university library) ===

* Dubois, Jean-Paul. ''Henker erzählen: Todesstrafe in den USA.'' Frankreich, 2004. Fernsehmitschnitt Sw: USA. Fernsehmitschnitt: WDR, 22.10.2004. (VHS, farb., 50 Min.) (Dokumentation über Henker in den USA, die sich kritisch mit ihrer Arbeit und der Todesstrafe auseinandersetzen)

* Kessel, Julie von. ''The Innocence Project.'' Deutschland, 2002. Fernsehmitschnitt: Arte, 03.12.2002. (VHS, farb., 20 Min.) (Bericht über ein DNA-Projekt der New Yorker Columbia University, das sich mit Schuld oder Unschuld zum Tode Verurteilter beschäftigt.)

* Steinberg, Klaus; Bock, Astrid. ''Leben mit der Hinrichtung: Begegnungen im Todestrakt.'' Deutschland, 1997. Fernsehmitschnitt: ZDF (37 Grad), 12.08.1997. (VHS, farb., 30 Min.') (Bericht über zum Tode verurteilte Häftlinge in den USA.)

* Walwin, Kent; Trombley, Stephen [Reg.]. ''L 'état meurtrier'' = Der Staat als Mörder. Deutschland/Frankreich, 1996. Fernsehmitschnitt: ARTE, 21.3.1996, 20,45 Uhr. (VHS, Zweikanalton, Monospur dt., farb., 75 Min.) (Auseinandersetzung um die Todesstrafe vom Ursprung bis zur heutigen Praxis in den USA)

* Hoewijk, Jaap van. ''Procedure 769: a hanging.'' Niederlande, 1995. Fernsehmitschnitt: West 3, 15.4.1996, 23,00 Uhr. (VHS, farb., 80 Min) (Der Film geht der Frage nach, warum Angehörige des Täters und der Opfer von Robert A. Harris dessen Hinrichtung beiwohnten.)

* Leacock, Richard; Pennebaker, Don Alan. ''The chair'' = Der Stuhl. Monospur dt., Stereospur engl. USA, 1963. Fernsehmitschnitt: Arte, 18.10.1996. (VHS, s/w, 75 Min.) (Documentary about the death sentence.)

* Reinhold, Frank. ''Take care'' = Gib auf dich acht! Deutschland, 1997. Fernsehmitschnitt: ARTE, 10.6.1997. (VHS, Zweikanalton, Monospur dt., Stereospur franz., farb., 60 Min.) (Die Liebesgeschichte zwischen dem in den USA zum Tode verurteilten Schwarzen Arthur Lee Williams und einer Deutschen von Amnesty International.)

===Literature===
MLA on "Death Penalty", "Capital Punishment", "Execution", "The Player"

'''2007'''
*Tolkin, Michael. "[Fiction into Film.]" ''BookForum: The Review for Art, Fiction, & Culture'', 14:2 (2007 June-Aug), pp. 36-37. [Subject Terms: American literature; 1900-1999; Tolkin, Michael (1950-): The Player (1988); novel; film adaptation; by Altman, Robert (1925-2006).]

'''2006'''
* O'Shea, Kathleen. Killing the Killers: Women on Death Row in the United States. pp. 67-82. Burfoot, Annette (ed. and introd.) Lord, Susan (ed. and introd.). ''Killing Women: The Visual Culture of Gender and Violence'' Cultural Studies Series. 6. Waterloo, ON: Wilfred Laurier UP, 2006. xxii, 328 pp. (Book article) [Subject Terms: Dramatic arts; television; in United States; 1998; treatment of women murderers; religious conversion; relationship to capital punishment; social conventions; of femininity; objectification.]

'''2005'''
* George, Diana and Shoos, Diane. "Deflecting the Political in the Visual Images of Execution and the Death Penalty Debate". ''College English'', 67:6 (2005 July), pp. 587-609. (Journal article) [Subject Terms: Dramatic arts; film; treatment of capital punishment; compared to photographs; of lynching; relationship to witness; voyeurism.]
*Poirot, Valérie. Cinéma et engagement: Représentations de la peine de mort et images d'exécution dans les productions américaines et françaises. ''Dissertation Abstracts International, Section A: The Humanities and Social Sciences'', 66:3 (2005 Sept), p. 798. (Dissertation abstract) [Subject Terms: Dramatic arts; film; in France; United States; 1970-1999; treatment of execution.]
* Reinelt, Janelle. "The Ambivalence of Catholic Compassion". ''Journal of Dramatic Theory and Criticism'', 20:1 (2005 Fall), pp. 103-12. (Journal article) [Subject Terms: American literature; 1900-1999; Prejean, Helen (1939-): Dead Man Walking (1993); prose; treatment of capital punishment; relationship to Christianity.]
*Schuyler, Michael T. "'Traffic Was a Bitch': Gender, Race and Spectatorship in Robert Altman's The Player." ''Journal of Narrative Theory'', 35:2 (2005 Summer), pp. 218-47. (Journal article) [Subject Terms: Dramatic arts; film; treatment of women; blacks; relationship to spectator; in Altman, Robert (1925-2006): The Player (1992).]

'''2003'''
* Horeck, Tanya. "From Documentary to Drama: Capturing Aileen Wuornos." ''Screen'', 48:2 (2007 Summer), pp. 141-59. [Treatment of Wuornos, Aileen (1956-2002); women murderers; capital punishment; in Broomfield, Nicholas (1948-) and Churchill, Joan: Aileen: Life and Death of a Serial Killer (2003) compared to Jenkins, Patty (1971-): Monster (2003).] see: [http://en.wikipedia.org/wiki/Aileen_Wuornos:_The_Selling_of_a_Serial_Killer en.wikipedia.org]
*Goldsmith, David F. "Monster." ''Creative Screenwriting'', 11:1 (2004 Jan-Feb), pp. 30-31. (Journal article) [Subject Terms: Dramatic arts; film; film genres; crime film; treatment of prostitute; sexual abuse; relationship to revenge; capital punishment; in Jenkins, Patty: Monster (2003).]
* Meranze, Michael. "Michel Foucault, the Death Penalty and the Crisis of Historical Understanding." ''Historical Reflections/Réflexions Historiques,'' 29:2 (2003 Summer), pp. 191-209. (Journal article) [Subject Terms: French literature; 1900-1999; Foucault, Michel (1926-1984): L'Histoire de la sexualité (1976); History of Sexuality: "Il faut défendre la société"; prose; treatment of capital punishment; relationship to war; race; power.]
* Parker, Alan. "Gale Force: My Personal Journey to a Death Row Drama." ''Film Journal International'', 106:2 (2003 Feb), p. 12, 30. (Journal article) [Subject Terms: Dramatic arts; film; treatment of capital punishment; in Parker, Alan (1944-): The Life of David Gale (2003); interview.]

'''1999'''
*Neubert, Ingo. "Sichtweisen des Fremden: Der amerikanische Dokumentarfilm und das Lernziel interkultureller Kompetenz: Dargestellt an der Direct-Cinema-Produktion The Chair zur Situation der Todesstrafe in den USA." ''Anglistik und Englischunterricht'', 62 (1999), pp. 407-30. (Journal article) [Subject Terms: Dramatic arts; film; film genres; documentary film; treatment of capital punishment; in Drew, Robert L. (1924-): The Chair (1962).]
*Prédal, René. "The Player ou la mort du scénariste," pp. 127-47. Estève, Michel (ed. and introd.). ''Robert Altman.'' Paris, France: Minard, 1999. 209 pp. [Subject Terms: American literature; 1900-1999; Tolkin, Michael (1950-): The Player (1988); novel; intertextuality; plot; relationship to Hollywood; in screenplay; for film adaptation; by Altman, Robert (1925-).]
* Stoekl, Allan. "Execution and the Human." ''Intertexts'', 3:1 (1999 Spring), pp. 3-31. (Journal article) [Subject Terms: American literature; 1900-1999; Dick, Philip K. (1928-1982): Do Androids Dream of Electric Sheep? (1968); novel; treatment of capital punishment; murder; human condition; in Scott, Ridley (1938-): Blade Runner (1982) as film adaptation compared to Kant, Immanuel (1724-1804): Metaphysische Anfangsgründe der Rechtslehre.]

'''1998'''
*Lauritzen, Paul. "The Knowing Heart: Moral Argument and the Appeal to Experience". ''Soundings: An Interdisciplinary Journal'', 81:1-2 (1998 Spring-Summer), pp. 213-34. (Journal article) [Subject Terms: American literature; 1900-1999; Prejean, Helen (1939-): Dead Man Walking (1993); prose; treatment of capital punishment; relationship to morality; experience.]

'''1997'''
* Guest, David. ''Sentenced to Death: The American Novel and Capital Punishment.'' Jackson, MS: UP of Mississippi, 1997. xx, 179 pp. (Book) [Subject Terms: American literature; 1900-1999; novel; treatment of capital punishment.]
*Nayman, Ira. "The Adaptable Altman." ''Creative Screenwriting,'' 4:3 (1997 Fall), pp. 84-96. [Subject Terms: American literature; 1900-1999; Chandler, Raymond (1888-1959): The Long Goodbye (1954); novel; and Tolkin, Michael (1950-): The Player (1988); Carver, Raymond (1936-1988); role of film adaptation; by Altman, Robert (1925-).]

'''1994'''
*Danziger, Marie. "Basic Instinct: Grappling for Post-Modern Mind Control." ''Literature/Film Quarterly,'' 22:1 (1994), pp. 7-10. [Subject Terms: Dramatic arts; film; treatment of power; in Verhoeven, Paul (1938-): Basic Instinct (1992); Altman, Robert (1925-2006): The Player (1992)]
*Pilipp, Frank. "Satirizing Hollywood: The Self-Referentiality of Robert Altman's The Player: Co-Sponsored by the Virginia Humanities Conf. and the Virginia Center for Media and Culture," pp. 80-84. Schwartz, Joel (introd.). ''Proceedings of the Conference on Film and American Culture.'' Williamsburg: Roy R. Charles Center, College of William and Mary, 1994. 111 pp.

'''1992'''
*Richolson, Janice. "The Player: An Interview with Robert Altman." ''Cineaste: America's Leading Magazine on the Art and Politics of the Cinema,''' 19:2-3 (1992), p. 61.

=== Further reading (available at the library) ===

* Amnesty International. ''Todesstrafe in den USA.'' Frankfurt am Main: Fischer-Taschenbuch-Verlag, 1989.

* Bedau, Hugo A. [Hrsg.] ''Capital punishment in the United States.'' New York, N.Y.: AMS Press, 1976. ISBN 0-404-10325-1

* Martschukat, Jürgen. ''Geschichte der Todesstrafe in Nordamerika: von der Kolonialzeit bis zur Gegenwart.'' 1. Ed. München: Beck, 2002. ISBN 3-406-47611-2 (Pb.)

* Sarat, Austin. ''When the State Kills: Capital Punishment and the American Condition.'' New Jersey: Princeton University Press, 2001. (not available at the library)

* Sarat, Austin. ''Crime and punishment: perspectives from the humanities.'' Vol. 37. Amsterdam: Elsevier, 2005. ISBN 0-7623-1245-9 (hbk.)

* Sarat, Austin. ''Punishment politics and culture.'' Vol. 30. Amsterdam: Elsevier, 2004. ISBN 0-7623-1072-3

* Schwed, Roger E. ''Abolition and capital punishment: the United States' judicial, political, and moral barometer.'' New York, N.Y.: AMS Press, 1983. ISBN 0-404-61623-2

====Fiction (additional) ====

* John Grisham, ''The Chamber''. New York: Doubleday, 1994.
* Victor Hugo, ''The Last Day of a Condemned Man'' [1829]. London: Hesperus Press Ltd., 2002.

=== Links ===
* [http://www.film.com/ www.film.com] Movie Trailers and Times, Reviews and Previews, Celebreties, TV, DVD etc.
* [http://elokuvantaju.uiah.fi/2001/english/study_material/study_material.jsp Cinemasense] Study material on cinematic techniques, including a word search for cinematic terms, which are explained and illustrated by film stills.
* [http://www.nitpickers.com/ nitpickers.com] Movie mistakes, movie errors, movie reviews.
* [http://www.filmsite.org/filmterms1.html Cinematic Terms - A Film-Making Glossary] Study material on cinematic terms explained and illustrated by examples.
* [http://en.wikipedia.org/wiki/Capital_punishment_in_the_United_States Capital punishment in the United States] - en.wikipedia.org
* [http://www.deathpenaltyinfo.org/ deathpenaltyinfo.org] Including a [http://www.deathpenaltyinfo.org/article.php?did=132&scid=17 List of Articles] and a [http://www.deathpenaltyinfo.org/article.php?did=130&scid=20 List of Books] on the Death Penalty.
* [http://www.deathpenalty.org/index.php?pid=main&menu=1 deathpenalty.org] "The Death Penalty Focus", an organization against the Death Penalty founded in 1988.
* [http://deathpenaltycurriculum.org/student/c/states/maps/contents.htm deathpenaltycurriculum.org/states/maps] Interactive U.S. maps on the Death Penalty, including methods of execution, homicides and use of the death penalty, and execution on death row inmates (all by state).
* [http://www.deathpenalty.org/pdf_files/CurriculumFeb.2006.pdf deathpenalty.org/pdf_files/curriculum] A pdf file showing suggested lesson plans for teachers. Including case studies, material on discussions, exams and essays, history of the Death Penalty, laws, international views and a suggested general reading list.
* Jonsson, Patrick. "Is self-defence law vigilante justice?". The Christian Science Monitor Feb. 24 2003 <http://www.csmonitor.com/2006/0224/p02s01-usju.html>
* Guarnera, Daniel. "Hard to Kill: Why Can’t the U.S. Find a Suitable Execution Method?". International Review Jan. 4 2007 <http://www.internationalistreview.com/article.php?id=52>

[[Category:Summer 2008]]
[[Category:Mastermodul]]

Richard Head, English Rogue (1665)

2008-05-14T10:50:46Z

Bastian Martens: /* Chap. XIII */

We have three paginations and a continuous but slightly erratic chapter segmentation. I offer a pdf file at the end, you need however the anglistik Oldenburg login to access it. Get a pdf from eebo (use marked list to do that), if you have lost the password.

==Excerpt==

===Preface===
The protagonist is not named, the author does not want the protagonist to recognize himself. The story is a collection of narrations told by rouges. Any resemblance to other rouge storys are possible but not on purpose. But the story is not like a greek myth - it is based on facts rather than myths.

===Chap. I===
THe protagonists grandfather was a farmer who decided that his eldest son (protagonists father) should learn so long, till he could read any printed or written hand. But he plunged himself over head and heals in all manners of sensuality and at last was expelled from college and was forced to return to his father. After no long time a gentle (and wealthy) woman fell in love with him and got married. After her portion was spended the protagonists father had to work. The Protagonist about his life: "It was always my disposition rather to die by the hand of a common Executioner, than want my revenge, though ever so slightly grounded. ... Had I then died, no other guilt could have rendred me culpable before Gods Tribunal, but what was derivative before Adam."

===Chap. II===

===Chap. III===

===Chap. IV===

===Chap. V===

===Chap. VI===

===Chap. VII===

===Chap. VIII===

===Chap. IX===

===Chap. X===

===Chap. XI===

===Chap. XII p.100===

The protagonist goes to London, where he meets an acquaintance, who tells him the story of how he mistook his mistress’s laughter for signs of affection. He explains his love to her in a letter. She answers this letter with a note that she would leave her bed chamber open for him, so he could come to her. However, at night he accidentally tries to get into his master’s bed. After a short chase he is caught and whipped by his master, who then sends him to bed again. The man takes some bed sheets, ties them together and climbs out of the window to escape. As one of the knots slipped open, he fell down and felt like he had broken every bone. He finds a cobbler’s stall that had shortly been broken open, where he lies down to sleep. When the cobbler returns the next morning, he thinks that the man broke open his stall and therefore beats him up. Finally, the man gets the opportunity to explain, the cobbler feels pity and apologizes. They part.

At this point, the story returns to the protagonist and the other man still sitting in an ale house. They agree to change clothes, for some reason. Some people arrive who recognize the clothes the protagonist had stolen before. But as it is the other young man who wears these clothes, they arrest him instead.

Having no money, he hungers for some time, loosing weight so that he appears “like a walking skeleton” (p. 107). He goes to an inn, where he orders drink and food. As he wants to go to his chamber, the landlady asks for payment in advance, which he cannot offer. She refuses to bargain, so he tries to escape, but is caught, beaten up and his clothes are taken as payment. The next day he steals some bread from a baker. Later he goes to a restaurant, where he takes some food and ale right of the table of two gentlemen, but leaves before they act.

===Chap. XI p.2-1===

He meets a man who offers him good work on a merchant‘s ship and afterwards on the merchant’s plantation in Virginia. He is also offered food and lodging for the two days he has to wait until the ship arrives. But he knows that this is how galley slaves are taken. When he is taken from the lodging to the ship he manages to overturn the rowboat in which he was taken. He escapes and eventually ends up in the company and bed of a woman who felt sorry at the miserable sight of him.

===Chap. XII [2] p.2-8===

He turns to stealing as his new profession and steals a good cloak. Afterwards he gambles with some ordinary people and wins some good money. He then writes a letter to his former master that he regrets running away from him and begs his forgiveness. His master accepts this apology and lets him return into his service.

===Chap. XIII===

Having returned into his master’s service he decides to make the world believe he had really changed, but secretly plans “to build [his] future estate upon the ruine of other men” (p. 12). He turns to religion, which is in his opinion the best way to gain his mistress’s favour and confidence and succeeds therein. She gives him many signs of her desire and devotion and one days tells her husband that she would like to visit a friend and that their servant (she calls him Thomas) was to accompany her. While crossing a lake with a rowboat, she explains her love to him more openly than ever before. He first resists politely, but then lets events take their course. At night, she slips out of her bed and into his.

The same night, her husband is woken up by the noises she made when returning to her own bed. He mistakes these noises and the apparition of spirit in white sheets as the presence of a ghost in his chamber. Therefore he decides to sleep in his wife’s chamber from then on.

A couple of nights pass, when the cat of the house gets stuck with her tail on a hook in the cellar and therefore makes horrible noise. The master takes this as a proof for his first encounter, but then is shown the true source of this moaning spirit. He is so relieved that from the next night on, he slept in his own chamber again, wherefore the mistress and the protagonist could continue their nightly affair.

===Chap. XIV===

===Chap. XV===

===Chap. XVI===

===Chap. XVII===

===Chap. XVIII===

===Chap. XIX===

===Chap. XX===

===Chap. XXI===

===Chap. XXII===

===Chap. XXIII===

===Chap. XXIV===
The protagonist arrives in Ireland, near Dublin, having a new name. He’s got no possessions for the ship bringing those sunk. Difficulties to understand the Irish and their habits occur.

He takes a “coach” to Dublin which he describes as a place filled with mischief.

He finds a place to stay, has his hair cut off and gets a wig to be able to stay incognito. He’s got problems to got used to his new self.

When his Landlady demands payment, which he can’t give her, he tries to flatter her. This doesn’t help much and, partly by good luck, he finds her in bed with another man one day. In order to stay silent about this incidence he receives ten pounds.

===Chap. XXV===
He loses this money as soon as he received it, by gaming, and soon has to live from water and little food only. At the same time he tries hard to pretend to be living and eating as good as he used to. His stomach begins to act up, he can’t sleep, loses weight and looks like a “walking skeleton”.

===Chap. XXVI===
He happens to end up at a house where he meets “Mr.Doctor” who has a look at him and where an old lady takes care of him and offers him food which his body can’t hold onto for too long. Eventually though, he begins to get better for the lady feels sorry for his misery and makes sure he gets back to his former state. As payment though, he has to sleep with her.

===Chap. XXVII===
Being weary of the city he travels to the country. At a small river he meets a young woman who speaks Irish and whom he can’t understand yet she seems to want to lie with him. But at the last moment she cries out and he can hardly escape as he has to fight / is being chased by a couple of “fellows”. That night he sleepy in an Inn where he’s being treated badly as well. He gets horrible food and drinks which he only pretends to consume and he has to sleep near the animals. Tired of the bad treatment of the English by Irish country people he travels back to Dublin.

===Chap. XXVI p.2-83===

===Chap. XXVII p.2-87===

===Chap. XXVIII p.2-94===
Chapter XXVIII:

The rogue wants to rob a farmer’s house but falls in love with the farmer’s daughter. He meets her outside the farmer’s house. She tells her parents that he is a gentleman who doesn’t know the way and that he wants to stay for the night. With this excuse he gets into the farmer’s house. The next morning he seems to be ill and due to this illness he has an excuse to stay. During his stay of at least two weeks the rogue is visited by a few doctors. However, they cannot cure his disease. Meanwhile, the farmer’s daughter spends every evening at the visitor’s bedside. Being recovered, the rogue wants to compensate the farmer’s expenses by marrying his daughter. Still, he wants to know where the farmer keeps his money. The daughter tells him that her father doesn’t have any money in the house. Consequently, the rogue doesn’t want to stay any longer. He leaves and sends the daughter money and an accompanying letter which he explains his departure. He declares that he has taught her everything a woman should know - that he has enriched her mind.

===Chap. XXIX p.2-102===
Chapter XXIX page 79-83 summary:

The same night the man hears that his Landlady is very sick and that she wants to see him. But when he reaches her place she has already died. He takes her hand and finds ten pieces of gold in it and puts them secretly into his pocket. He stayes another two or three days in her house and returns to his new friend who tries to persuade him to commit another crime with him. The man refuses and they part in anger.His friend is caught and is sentenced to death. He visits him in prison and they have a discussion about God. A couple of days later he watches his friends execution.
(Manuela Leidel)

Chapter XXIX page 102-105 Summary:

After leaving the country girl he stops an an Inn.In the evening he continues his trip and meets an armed gentleman along the way.They get into a fight and kill eachothers horses. He manages to get on top of the other man an wants to steal his money. He finds no gold underneath the clothes but breasts. The gentleman is a woman. A robber woman. She takes him to her place and they become friends.
(Manuela Leidel)

Chapter XXIX:

After leaving the farmer’s house he meets a man whom he wants to rob. In the course of the undertaking, the rogue gets shot in the leg and the victim’s horse gets killed. While searching the man, the rogue discovers him to be a woman. In the end she takes him to her place and they become friends.

===Chap. XXX, page 105-110===

The man stays at the robber women`s house for a while and she tells him about her life. How she was raised, that her father was a sword cutler and that she was taught how to fight with a sword. She tells him that she got married to an Innkeeper at the age of fifteen and how her husband treated her badly. She descided to become a robber and took revenge by stealing her husbands money and leaving him.
The man gets to know some of her robber friends and leaves after some days.

Chaper XXX:

The woman he has met tells him about her life. She is the daughter of a sword-cutler and has spent a lot of time in her father’s shop where she learnt how to handle a sword. At the age of 15 she married an inn-keeper, an insolent, imperious man who beat her. Since she didn’t have money she began to steal. She disguised herself by wearing men’s clothes. Finally, in order to take revenge, the woman robbed her husband and left. She gives the rogue the advice to treat women well because otherwise they will take revenge on him.

===Chap. XXXI, 111-117===

The man riding on his own again thinks a lot about the woman robber. He is impressed of the way she deceives her victims-she would put a cushion underneath her clothes, pretending to be pregnant. Men riding along would offer her a ride and when they reached a good place she would overwhelm them and take their possessions.
The man reaches an Inn and gets the information that a wealthy unarmed gentleman left the Inn an hour ago. The man stays for one drink only and rides after the gentleman.He finally reaches him and tells him to hand him his money. The gentleman, to the robbers surprise, is well armed and fires a pistol at him and attacks him with a sword. The robber is injured and the gentleman, a robber himself, takes away his money and his horse.He had tricked the robber through the unsuspecting Innkeeper.
The man takes the old horse from the gentleman-robber and rides to a town nearby.The people are very friendly and take care of him.The gentleman-robber is not found.

Chapter XXXI:

After leaving the woman he arrives at an inn where he wants to rest. However, the hastler keeps him from doing so by telling him about a rich man who has left a short while ago. The rogue is able to find the man but has to find out that the rich man is not an easy prey. He is able to fire at the rogue and escapes with the rogue’s money and the rogue’s horse. Left with his victim’s horse, the rogue is attacked by five or six rogues. He manages to escape and rests in an unknown place. Unfortunately, someone recognizes the rich man’s horse. One assumes that the rogue has murdered the rich gentleman and decides to hang him for the committed crime. However, the rogue is discharged when the rich gentleman appears.

===Chap. XXXII===

===Chap. XXXIII===

===Chap. XXXIV===

===Chap. XXXV===

===Chap. XXXVI===

===Chap. XXXVII===

===Chap. XXXVIII===
page 75 - 78 summary :

He walks down the street and notices a man with an interesting and very used wardrobe. He describes the man´s hat, doublet, cloak, breechea and skirts. He invites the man into an Ale-house an questions him about his stange outfit. He brings the man new clothes and walks with him in the streets.They see an easy to steal hogshead of wine. The man "hires" two or three more Rouges and they steal the hogshead at night.

page 94-102 summary:

He meets a young country girl while riding down a road and is amazed by her beauty.
He stays the night at her family´s house and pretends that he is very sick the next day so that he can stay longer. After beeing sick for about two weeks he asks the girls parents to let him marry her. They accept. Her father catches them naked and wants them to marry quickly.The man leaves unknown and sends the girl twenty pieces of gold and a poem.

===Chap. XXXIX===

===Chap. XL===

===Chap. XLI===

===Chap. XLII===

===Chap. XLIII===

===Chap. XLIV===

===Chap. XLV===

===Chap. XLVI===

===Chap. XLVII===

===Chap. XLVIII===

===Chap. XLIX===

===Chap. L===

===Chap. LI p.3-1===

===Chap. LII===

===Chap. LIII===

===Chap. LIV===

===Chap. LV===

===Chap. LVI===

===Chap. LVII===

===Chap. LVIII===

===Chap. LIX===

===Chap. LX===

===Chap. LXI===

===Chap. LXII===

===Chap. XIII===

===Chap. LXIV===

===Chap. LXV===

===Chap. LXVI===

===Chap. LXVII===

===Chap. LXVIII===

===Chap. LXIX===

===Chap. LXX===

===Chap. LXXI===

===Chap. LXXII===

===Chap. XXIII===

===Chap. XXIV===

===Chap. XXV===

===Chap. XXVI===

==Links==
*[Richard Head] ''The English rogue described in the life of Meriton Latroon, a witty extravagant''. London: Francis Kirkman, 1666. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=15585368&FILE=../session/1210091335_12425&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=config.cfg&DISPLAY=default EEBO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1666_Head_The_English_Rogue.pdf Anglistik Server Oldenburg]
*[A shortened cheap book version:] ''The life and death of the English rogue, or, His last legacy to the world.'' London, 1679. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12253472&FILE=../session/1210087652_12132&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO]

[[Category:17th century|1665]]
[[Category:1660s|1665]]
[[Category:By author|Head, Richard]]

Richard Head, English Rogue (1665)

2008-05-14T09:50:51Z

Bastian Martens: /* Chap. XII [2] p.2-8 */

We have three paginations and a continuous but slightly erratic chapter segmentation. I offer a pdf file at the end, you need however the anglistik Oldenburg login to access it. Get a pdf from eebo (use marked list to do that), if you have lost the password.

==Excerpt==

===Preface===

===Chap. I===

===Chap. II===

===Chap. III===

===Chap. IV===

===Chap. V===

===Chap. VI===

===Chap. VII===

===Chap. VIII===

===Chap. IX===

===Chap. X===

===Chap. XI===

===Chap. XII p.100===

The protagonist goes to London, where he meets an acquaintance, who tells him the story of how he mistook his mistress’s laughter for signs of affection. He explains his love to her in a letter. She answers this letter with a note that she would leave her bed chamber open for him, so he could come to her. However, at night he accidentally tries to get into his master’s bed. After a short chase he is caught and whipped by his master, who then sends him to bed again. The man takes some bed sheets, ties them together and climbs out of the window to escape. As one of the knots slipped open, he fell down and felt like he had broken every bone. He finds a cobbler’s stall that had shortly been broken open, where he lies down to sleep. When the cobbler returns the next morning, he thinks that the man broke open his stall and therefore beats him up. Finally, the man gets the opportunity to explain, the cobbler feels pity and apologizes. They part.

At this point, the story returns to the protagonist and the other man still sitting in an ale house. They agree to change clothes, for some reason. Some people arrive who recognize the clothes the protagonist had stolen before. But as it is the other young man who wears these clothes, they arrest him instead.

Having no money, he hungers for some time, loosing weight so that he appears “like a walking skeleton” (p. 107). He goes to an inn, where he orders drink and food. As he wants to go to his chamber, the landlady asks for payment in advance, which he cannot offer. She refuses to bargain, so he tries to escape, but is caught, beaten up and his clothes are taken as payment. The next day he steals some bread from a baker. Later he goes to a restaurant, where he takes some food and ale right of the table of two gentlemen, but leaves before they act.

===Chap. XI p.2-1===

He meets a man who offers him good work on a merchant‘s ship and afterwards on the merchant’s plantation in Virginia. He is also offered food and lodging for the two days he has to wait until the ship arrives. But he knows that this is how galley slaves are taken. When he is taken from the lodging to the ship he manages to overturn the rowboat in which he was taken. He escapes and eventually ends up in the company and bed of a woman who felt sorry at the miserable sight of him.

===Chap. XII [2] p.2-8===

He turns to stealing as his new profession and steals a good cloak. Afterwards he gambles with some ordinary people and wins some good money. He then writes a letter to his former master that he regrets running away from him and begs his forgiveness. His master accepts this apology and lets him return into his service.

===Chap. XIII===

===Chap. XIV===

===Chap. XV===

===Chap. XVI===

===Chap. XVII===

===Chap. XVIII===

===Chap. XIX===

===Chap. XX===

===Chap. XXI===

===Chap. XXII===

===Chap. XXIII===

===Chap. XXIV===
The protagonist arrives in Ireland, near Dublin, having a new name. He’s got no possessions for the ship bringing those sunk. Difficulties to understand the Irish and their habits occur.

He takes a “coach” to Dublin which he describes as a place filled with mischief.

He finds a place to stay, has his hair cut off and gets a wig to be able to stay incognito. He’s got problems to got used to his new self.

When his Landlady demands payment, which he can’t give her, he tries to flatter her. This doesn’t help much and, partly by good luck, he finds her in bed with another man one day. In order to stay silent about this incidence he receives ten pounds.

===Chap. XXV===
He loses this money as soon as he received it, by gaming, and soon has to live from water and little food only. At the same time he tries hard to pretend to be living and eating as good as he used to. His stomach begins to act up, he can’t sleep, loses weight and looks like a “walking skeleton”.

===Chap. XXVI===
He happens to end up at a house where he meets “Mr.Doctor” who has a look at him and where an old lady takes care of him and offers him food which his body can’t hold onto for too long. Eventually though, he begins to get better for the lady feels sorry for his misery and makes sure he gets back to his former state. As payment though, he has to sleep with her.

===Chap. XXVII===
Being weary of the city he travels to the country. At a small river he meets a young woman who speaks Irish and whom he can’t understand yet she seems to want to lie with him. But at the last moment she cries out and he can hardly escape as he has to fight / is being chased by a couple of “fellows”. That night he sleepy in an Inn where he’s being treated badly as well. He gets horrible food and drinks which he only pretends to consume and he has to sleep near the animals. Tired of the bad treatment of the English by Irish country people he travels back to Dublin.

===Chap. XXVI p.2-83===

===Chap. XXVII p.2-87===

===Chap. XXVIII p.2-94===
Chapter XXVIII:

The rogue wants to rob a farmer’s house but falls in love with the farmer’s daughter. He meets her outside the farmer’s house. She tells her parents that he is a gentleman who doesn’t know the way and that he wants to stay for the night. With this excuse he gets into the farmer’s house. The next morning he seems to be ill and due to this illness he has an excuse to stay. During his stay of at least two weeks the rogue is visited by a few doctors. However, they cannot cure his disease. Meanwhile, the farmer’s daughter spends every evening at the visitor’s bedside. Being recovered, the rogue wants to compensate the farmer’s expenses by marrying his daughter. Still, he wants to know where the farmer keeps his money. The daughter tells him that her father doesn’t have any money in the house. Consequently, the rogue doesn’t want to stay any longer. He leaves and sends the daughter money and an accompanying letter which he explains his departure. He declares that he has taught her everything a woman should know - that he has enriched her mind.

===Chap. XXIX p.2-102===
Chapter XXIX page 79-83 summary:

The same night the man hears that his Landlady is very sick and that she wants to see him. But when he reaches her place she has already died. He takes her hand and finds ten pieces of gold in it and puts them secretly into his pocket. He stayes another two or three days in her house and returns to his new friend who tries to persuade him to commit another crime with him. The man refuses and they part in anger.His friend is caught and is sentenced to death. He visits him in prison and they have a discussion about God. A couple of days later he watches his friends execution.
(Manuela Leidel)

Chapter XXIX page 102-105 Summary:

After leaving the country girl he stops an an Inn.In the evening he continues his trip and meets an armed gentleman along the way.They get into a fight and kill eachothers horses. He manages to get on top of the other man an wants to steal his money. He finds no gold underneath the clothes but breasts. The gentleman is a woman. A robber woman. She takes him to her place and they become friends.
(Manuela Leidel)

Chapter XXIX:

After leaving the farmer’s house he meets a man whom he wants to rob. In the course of the undertaking, the rogue gets shot in the leg and the victim’s horse gets killed. While searching the man, the rogue discovers him to be a woman. In the end she takes him to her place and they become friends.

===Chap. XXX, page 105-110===

The man stays at the robber women`s house for a while and she tells him about her life. How she was raised, that her father was a sword cutler and that she was taught how to fight with a sword. She tells him that she got married to an Innkeeper at the age of fifteen and how her husband treated her badly. She descided to become a robber and took revenge by stealing her husbands money and leaving him.
The man gets to know some of her robber friends and leaves after some days.

Chaper XXX:

The woman he has met tells him about her life. She is the daughter of a sword-cutler and has spent a lot of time in her father’s shop where she learnt how to handle a sword. At the age of 15 she married an inn-keeper, an insolent, imperious man who beat her. Since she didn’t have money she began to steal. She disguised herself by wearing men’s clothes. Finally, in order to take revenge, the woman robbed her husband and left. She gives the rogue the advice to treat women well because otherwise they will take revenge on him.

===Chap. XXXI, 111-117===

The man riding on his own again thinks a lot about the woman robber. He is impressed of the way she deceives her victims-she would put a cushion underneath her clothes, pretending to be pregnant. Men riding along would offer her a ride and when they reached a good place she would overwhelm them and take their possessions.
The man reaches an Inn and gets the information that a wealthy unarmed gentleman left the Inn an hour ago. The man stays for one drink only and rides after the gentleman.He finally reaches him and tells him to hand him his money. The gentleman, to the robbers surprise, is well armed and fires a pistol at him and attacks him with a sword. The robber is injured and the gentleman, a robber himself, takes away his money and his horse.He had tricked the robber through the unsuspecting Innkeeper.
The man takes the old horse from the gentleman-robber and rides to a town nearby.The people are very friendly and take care of him.The gentleman-robber is not found.

Chapter XXXI:

After leaving the woman he arrives at an inn where he wants to rest. However, the hastler keeps him from doing so by telling him about a rich man who has left a short while ago. The rogue is able to find the man but has to find out that the rich man is not an easy prey. He is able to fire at the rogue and escapes with the rogue’s money and the rogue’s horse. Left with his victim’s horse, the rogue is attacked by five or six rogues. He manages to escape and rests in an unknown place. Unfortunately, someone recognizes the rich man’s horse. One assumes that the rogue has murdered the rich gentleman and decides to hang him for the committed crime. However, the rogue is discharged when the rich gentleman appears.

===Chap. XXXII===

===Chap. XXXIII===

===Chap. XXXIV===

===Chap. XXXV===

===Chap. XXXVI===

===Chap. XXXVII===

===Chap. XXXVIII===
page 75 - 78 summary :

He walks down the street and notices a man with an interesting and very used wardrobe. He describes the man´s hat, doublet, cloak, breechea and skirts. He invites the man into an Ale-house an questions him about his stange outfit. He brings the man new clothes and walks with him in the streets.They see an easy to steal hogshead of wine. The man "hires" two or three more Rouges and they steal the hogshead at night.

page 94-102 summary:

He meets a young country girl while riding down a road and is amazed by her beauty.
He stays the night at her family´s house and pretends that he is very sick the next day so that he can stay longer. After beeing sick for about two weeks he asks the girls parents to let him marry her. They accept. Her father catches them naked and wants them to marry quickly.The man leaves unknown and sends the girl twenty pieces of gold and a poem.

===Chap. XXXIX===

===Chap. XL===

===Chap. XLI===

===Chap. XLII===

===Chap. XLIII===

===Chap. XLIV===

===Chap. XLV===

===Chap. XLVI===

===Chap. XLVII===

===Chap. XLVIII===

===Chap. XLIX===

===Chap. L===

===Chap. LI p.3-1===

===Chap. LII===

===Chap. LIII===

===Chap. LIV===

===Chap. LV===

===Chap. LVI===

===Chap. LVII===

===Chap. LVIII===

===Chap. LIX===

===Chap. LX===

===Chap. LXI===

===Chap. LXII===

===Chap. XIII===

===Chap. LXIV===

===Chap. LXV===

===Chap. LXVI===

===Chap. LXVII===

===Chap. LXVIII===

===Chap. LXIX===

===Chap. LXX===

===Chap. LXXI===

===Chap. LXXII===

===Chap. XXIII===

===Chap. XXIV===

===Chap. XXV===

===Chap. XXVI===

==Links==
*[Richard Head] ''The English rogue described in the life of Meriton Latroon, a witty extravagant''. London: Francis Kirkman, 1666. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=15585368&FILE=../session/1210091335_12425&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=config.cfg&DISPLAY=default EEBO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1666_Head_The_English_Rogue.pdf Anglistik Server Oldenburg]
*[A shortened cheap book version:] ''The life and death of the English rogue, or, His last legacy to the world.'' London, 1679. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12253472&FILE=../session/1210087652_12132&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO]

[[Category:17th century|1665]]
[[Category:1660s|1665]]
[[Category:By author|Head, Richard]]

Richard Head, English Rogue (1665)

2008-05-14T09:50:27Z

Bastian Martens: /* Chap. XI p.2-1 */

We have three paginations and a continuous but slightly erratic chapter segmentation. I offer a pdf file at the end, you need however the anglistik Oldenburg login to access it. Get a pdf from eebo (use marked list to do that), if you have lost the password.

==Excerpt==

===Preface===

===Chap. I===

===Chap. II===

===Chap. III===

===Chap. IV===

===Chap. V===

===Chap. VI===

===Chap. VII===

===Chap. VIII===

===Chap. IX===

===Chap. X===

===Chap. XI===

===Chap. XII p.100===

The protagonist goes to London, where he meets an acquaintance, who tells him the story of how he mistook his mistress’s laughter for signs of affection. He explains his love to her in a letter. She answers this letter with a note that she would leave her bed chamber open for him, so he could come to her. However, at night he accidentally tries to get into his master’s bed. After a short chase he is caught and whipped by his master, who then sends him to bed again. The man takes some bed sheets, ties them together and climbs out of the window to escape. As one of the knots slipped open, he fell down and felt like he had broken every bone. He finds a cobbler’s stall that had shortly been broken open, where he lies down to sleep. When the cobbler returns the next morning, he thinks that the man broke open his stall and therefore beats him up. Finally, the man gets the opportunity to explain, the cobbler feels pity and apologizes. They part.

At this point, the story returns to the protagonist and the other man still sitting in an ale house. They agree to change clothes, for some reason. Some people arrive who recognize the clothes the protagonist had stolen before. But as it is the other young man who wears these clothes, they arrest him instead.

Having no money, he hungers for some time, loosing weight so that he appears “like a walking skeleton” (p. 107). He goes to an inn, where he orders drink and food. As he wants to go to his chamber, the landlady asks for payment in advance, which he cannot offer. She refuses to bargain, so he tries to escape, but is caught, beaten up and his clothes are taken as payment. The next day he steals some bread from a baker. Later he goes to a restaurant, where he takes some food and ale right of the table of two gentlemen, but leaves before they act.

===Chap. XI p.2-1===

He meets a man who offers him good work on a merchant‘s ship and afterwards on the merchant’s plantation in Virginia. He is also offered food and lodging for the two days he has to wait until the ship arrives. But he knows that this is how galley slaves are taken. When he is taken from the lodging to the ship he manages to overturn the rowboat in which he was taken. He escapes and eventually ends up in the company and bed of a woman who felt sorry at the miserable sight of him.

===Chap. XII [2] p.2-8===

===Chap. XIII===

===Chap. XIV===

===Chap. XV===

===Chap. XVI===

===Chap. XVII===

===Chap. XVIII===

===Chap. XIX===

===Chap. XX===

===Chap. XXI===

===Chap. XXII===

===Chap. XXIII===

===Chap. XXIV===
The protagonist arrives in Ireland, near Dublin, having a new name. He’s got no possessions for the ship bringing those sunk. Difficulties to understand the Irish and their habits occur.

He takes a “coach” to Dublin which he describes as a place filled with mischief.

He finds a place to stay, has his hair cut off and gets a wig to be able to stay incognito. He’s got problems to got used to his new self.

When his Landlady demands payment, which he can’t give her, he tries to flatter her. This doesn’t help much and, partly by good luck, he finds her in bed with another man one day. In order to stay silent about this incidence he receives ten pounds.

===Chap. XXV===
He loses this money as soon as he received it, by gaming, and soon has to live from water and little food only. At the same time he tries hard to pretend to be living and eating as good as he used to. His stomach begins to act up, he can’t sleep, loses weight and looks like a “walking skeleton”.

===Chap. XXVI===
He happens to end up at a house where he meets “Mr.Doctor” who has a look at him and where an old lady takes care of him and offers him food which his body can’t hold onto for too long. Eventually though, he begins to get better for the lady feels sorry for his misery and makes sure he gets back to his former state. As payment though, he has to sleep with her.

===Chap. XXVII===
Being weary of the city he travels to the country. At a small river he meets a young woman who speaks Irish and whom he can’t understand yet she seems to want to lie with him. But at the last moment she cries out and he can hardly escape as he has to fight / is being chased by a couple of “fellows”. That night he sleepy in an Inn where he’s being treated badly as well. He gets horrible food and drinks which he only pretends to consume and he has to sleep near the animals. Tired of the bad treatment of the English by Irish country people he travels back to Dublin.

===Chap. XXVI p.2-83===

===Chap. XXVII p.2-87===

===Chap. XXVIII p.2-94===
Chapter XXVIII:

The rogue wants to rob a farmer’s house but falls in love with the farmer’s daughter. He meets her outside the farmer’s house. She tells her parents that he is a gentleman who doesn’t know the way and that he wants to stay for the night. With this excuse he gets into the farmer’s house. The next morning he seems to be ill and due to this illness he has an excuse to stay. During his stay of at least two weeks the rogue is visited by a few doctors. However, they cannot cure his disease. Meanwhile, the farmer’s daughter spends every evening at the visitor’s bedside. Being recovered, the rogue wants to compensate the farmer’s expenses by marrying his daughter. Still, he wants to know where the farmer keeps his money. The daughter tells him that her father doesn’t have any money in the house. Consequently, the rogue doesn’t want to stay any longer. He leaves and sends the daughter money and an accompanying letter which he explains his departure. He declares that he has taught her everything a woman should know - that he has enriched her mind.

===Chap. XXIX p.2-102===
Chapter XXIX page 79-83 summary:

The same night the man hears that his Landlady is very sick and that she wants to see him. But when he reaches her place she has already died. He takes her hand and finds ten pieces of gold in it and puts them secretly into his pocket. He stayes another two or three days in her house and returns to his new friend who tries to persuade him to commit another crime with him. The man refuses and they part in anger.His friend is caught and is sentenced to death. He visits him in prison and they have a discussion about God. A couple of days later he watches his friends execution.
(Manuela Leidel)

Chapter XXIX page 102-105 Summary:

After leaving the country girl he stops an an Inn.In the evening he continues his trip and meets an armed gentleman along the way.They get into a fight and kill eachothers horses. He manages to get on top of the other man an wants to steal his money. He finds no gold underneath the clothes but breasts. The gentleman is a woman. A robber woman. She takes him to her place and they become friends.
(Manuela Leidel)

Chapter XXIX:

After leaving the farmer’s house he meets a man whom he wants to rob. In the course of the undertaking, the rogue gets shot in the leg and the victim’s horse gets killed. While searching the man, the rogue discovers him to be a woman. In the end she takes him to her place and they become friends.

===Chap. XXX, page 105-110===

The man stays at the robber women`s house for a while and she tells him about her life. How she was raised, that her father was a sword cutler and that she was taught how to fight with a sword. She tells him that she got married to an Innkeeper at the age of fifteen and how her husband treated her badly. She descided to become a robber and took revenge by stealing her husbands money and leaving him.
The man gets to know some of her robber friends and leaves after some days.

Chaper XXX:

The woman he has met tells him about her life. She is the daughter of a sword-cutler and has spent a lot of time in her father’s shop where she learnt how to handle a sword. At the age of 15 she married an inn-keeper, an insolent, imperious man who beat her. Since she didn’t have money she began to steal. She disguised herself by wearing men’s clothes. Finally, in order to take revenge, the woman robbed her husband and left. She gives the rogue the advice to treat women well because otherwise they will take revenge on him.

===Chap. XXXI, 111-117===

The man riding on his own again thinks a lot about the woman robber. He is impressed of the way she deceives her victims-she would put a cushion underneath her clothes, pretending to be pregnant. Men riding along would offer her a ride and when they reached a good place she would overwhelm them and take their possessions.
The man reaches an Inn and gets the information that a wealthy unarmed gentleman left the Inn an hour ago. The man stays for one drink only and rides after the gentleman.He finally reaches him and tells him to hand him his money. The gentleman, to the robbers surprise, is well armed and fires a pistol at him and attacks him with a sword. The robber is injured and the gentleman, a robber himself, takes away his money and his horse.He had tricked the robber through the unsuspecting Innkeeper.
The man takes the old horse from the gentleman-robber and rides to a town nearby.The people are very friendly and take care of him.The gentleman-robber is not found.

Chapter XXXI:

After leaving the woman he arrives at an inn where he wants to rest. However, the hastler keeps him from doing so by telling him about a rich man who has left a short while ago. The rogue is able to find the man but has to find out that the rich man is not an easy prey. He is able to fire at the rogue and escapes with the rogue’s money and the rogue’s horse. Left with his victim’s horse, the rogue is attacked by five or six rogues. He manages to escape and rests in an unknown place. Unfortunately, someone recognizes the rich man’s horse. One assumes that the rogue has murdered the rich gentleman and decides to hang him for the committed crime. However, the rogue is discharged when the rich gentleman appears.

===Chap. XXXII===

===Chap. XXXIII===

===Chap. XXXIV===

===Chap. XXXV===

===Chap. XXXVI===

===Chap. XXXVII===

===Chap. XXXVIII===
page 75 - 78 summary :

He walks down the street and notices a man with an interesting and very used wardrobe. He describes the man´s hat, doublet, cloak, breechea and skirts. He invites the man into an Ale-house an questions him about his stange outfit. He brings the man new clothes and walks with him in the streets.They see an easy to steal hogshead of wine. The man "hires" two or three more Rouges and they steal the hogshead at night.

page 94-102 summary:

He meets a young country girl while riding down a road and is amazed by her beauty.
He stays the night at her family´s house and pretends that he is very sick the next day so that he can stay longer. After beeing sick for about two weeks he asks the girls parents to let him marry her. They accept. Her father catches them naked and wants them to marry quickly.The man leaves unknown and sends the girl twenty pieces of gold and a poem.

===Chap. XXXIX===

===Chap. XL===

===Chap. XLI===

===Chap. XLII===

===Chap. XLIII===

===Chap. XLIV===

===Chap. XLV===

===Chap. XLVI===

===Chap. XLVII===

===Chap. XLVIII===

===Chap. XLIX===

===Chap. L===

===Chap. LI p.3-1===

===Chap. LII===

===Chap. LIII===

===Chap. LIV===

===Chap. LV===

===Chap. LVI===

===Chap. LVII===

===Chap. LVIII===

===Chap. LIX===

===Chap. LX===

===Chap. LXI===

===Chap. LXII===

===Chap. XIII===

===Chap. LXIV===

===Chap. LXV===

===Chap. LXVI===

===Chap. LXVII===

===Chap. LXVIII===

===Chap. LXIX===

===Chap. LXX===

===Chap. LXXI===

===Chap. LXXII===

===Chap. XXIII===

===Chap. XXIV===

===Chap. XXV===

===Chap. XXVI===

==Links==
*[Richard Head] ''The English rogue described in the life of Meriton Latroon, a witty extravagant''. London: Francis Kirkman, 1666. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=15585368&FILE=../session/1210091335_12425&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=config.cfg&DISPLAY=default EEBO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1666_Head_The_English_Rogue.pdf Anglistik Server Oldenburg]
*[A shortened cheap book version:] ''The life and death of the English rogue, or, His last legacy to the world.'' London, 1679. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12253472&FILE=../session/1210087652_12132&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO]

[[Category:17th century|1665]]
[[Category:1660s|1665]]
[[Category:By author|Head, Richard]]

Richard Head, English Rogue (1665)

2008-05-14T09:49:56Z

Bastian Martens: /* Chap. XII p.100 */

We have three paginations and a continuous but slightly erratic chapter segmentation. I offer a pdf file at the end, you need however the anglistik Oldenburg login to access it. Get a pdf from eebo (use marked list to do that), if you have lost the password.

==Excerpt==

===Preface===

===Chap. I===

===Chap. II===

===Chap. III===

===Chap. IV===

===Chap. V===

===Chap. VI===

===Chap. VII===

===Chap. VIII===

===Chap. IX===

===Chap. X===

===Chap. XI===

===Chap. XII p.100===

The protagonist goes to London, where he meets an acquaintance, who tells him the story of how he mistook his mistress’s laughter for signs of affection. He explains his love to her in a letter. She answers this letter with a note that she would leave her bed chamber open for him, so he could come to her. However, at night he accidentally tries to get into his master’s bed. After a short chase he is caught and whipped by his master, who then sends him to bed again. The man takes some bed sheets, ties them together and climbs out of the window to escape. As one of the knots slipped open, he fell down and felt like he had broken every bone. He finds a cobbler’s stall that had shortly been broken open, where he lies down to sleep. When the cobbler returns the next morning, he thinks that the man broke open his stall and therefore beats him up. Finally, the man gets the opportunity to explain, the cobbler feels pity and apologizes. They part.

At this point, the story returns to the protagonist and the other man still sitting in an ale house. They agree to change clothes, for some reason. Some people arrive who recognize the clothes the protagonist had stolen before. But as it is the other young man who wears these clothes, they arrest him instead.

Having no money, he hungers for some time, loosing weight so that he appears “like a walking skeleton” (p. 107). He goes to an inn, where he orders drink and food. As he wants to go to his chamber, the landlady asks for payment in advance, which he cannot offer. She refuses to bargain, so he tries to escape, but is caught, beaten up and his clothes are taken as payment. The next day he steals some bread from a baker. Later he goes to a restaurant, where he takes some food and ale right of the table of two gentlemen, but leaves before they act.

===Chap. XI p.2-1===

===Chap. XII [2] p.2-8===

===Chap. XIII===

===Chap. XIV===

===Chap. XV===

===Chap. XVI===

===Chap. XVII===

===Chap. XVIII===

===Chap. XIX===

===Chap. XX===

===Chap. XXI===

===Chap. XXII===

===Chap. XXIII===

===Chap. XXIV===
The protagonist arrives in Ireland, near Dublin, having a new name. He’s got no possessions for the ship bringing those sunk. Difficulties to understand the Irish and their habits occur.

He takes a “coach” to Dublin which he describes as a place filled with mischief.

He finds a place to stay, has his hair cut off and gets a wig to be able to stay incognito. He’s got problems to got used to his new self.

When his Landlady demands payment, which he can’t give her, he tries to flatter her. This doesn’t help much and, partly by good luck, he finds her in bed with another man one day. In order to stay silent about this incidence he receives ten pounds.

===Chap. XXV===
He loses this money as soon as he received it, by gaming, and soon has to live from water and little food only. At the same time he tries hard to pretend to be living and eating as good as he used to. His stomach begins to act up, he can’t sleep, loses weight and looks like a “walking skeleton”.

===Chap. XXVI===
He happens to end up at a house where he meets “Mr.Doctor” who has a look at him and where an old lady takes care of him and offers him food which his body can’t hold onto for too long. Eventually though, he begins to get better for the lady feels sorry for his misery and makes sure he gets back to his former state. As payment though, he has to sleep with her.

===Chap. XXVII===
Being weary of the city he travels to the country. At a small river he meets a young woman who speaks Irish and whom he can’t understand yet she seems to want to lie with him. But at the last moment she cries out and he can hardly escape as he has to fight / is being chased by a couple of “fellows”. That night he sleepy in an Inn where he’s being treated badly as well. He gets horrible food and drinks which he only pretends to consume and he has to sleep near the animals. Tired of the bad treatment of the English by Irish country people he travels back to Dublin.

===Chap. XXVI p.2-83===

===Chap. XXVII p.2-87===

===Chap. XXVIII p.2-94===
Chapter XXVIII:

The rogue wants to rob a farmer’s house but falls in love with the farmer’s daughter. He meets her outside the farmer’s house. She tells her parents that he is a gentleman who doesn’t know the way and that he wants to stay for the night. With this excuse he gets into the farmer’s house. The next morning he seems to be ill and due to this illness he has an excuse to stay. During his stay of at least two weeks the rogue is visited by a few doctors. However, they cannot cure his disease. Meanwhile, the farmer’s daughter spends every evening at the visitor’s bedside. Being recovered, the rogue wants to compensate the farmer’s expenses by marrying his daughter. Still, he wants to know where the farmer keeps his money. The daughter tells him that her father doesn’t have any money in the house. Consequently, the rogue doesn’t want to stay any longer. He leaves and sends the daughter money and an accompanying letter which he explains his departure. He declares that he has taught her everything a woman should know - that he has enriched her mind.

===Chap. XXIX p.2-102===
Chapter XXIX page 79-83 summary:

The same night the man hears that his Landlady is very sick and that she wants to see him. But when he reaches her place she has already died. He takes her hand and finds ten pieces of gold in it and puts them secretly into his pocket. He stayes another two or three days in her house and returns to his new friend who tries to persuade him to commit another crime with him. The man refuses and they part in anger.His friend is caught and is sentenced to death. He visits him in prison and they have a discussion about God. A couple of days later he watches his friends execution.
(Manuela Leidel)

Chapter XXIX page 102-105 Summary:

After leaving the country girl he stops an an Inn.In the evening he continues his trip and meets an armed gentleman along the way.They get into a fight and kill eachothers horses. He manages to get on top of the other man an wants to steal his money. He finds no gold underneath the clothes but breasts. The gentleman is a woman. A robber woman. She takes him to her place and they become friends.
(Manuela Leidel)

Chapter XXIX:

After leaving the farmer’s house he meets a man whom he wants to rob. In the course of the undertaking, the rogue gets shot in the leg and the victim’s horse gets killed. While searching the man, the rogue discovers him to be a woman. In the end she takes him to her place and they become friends.

===Chap. XXX, page 105-110===

The man stays at the robber women`s house for a while and she tells him about her life. How she was raised, that her father was a sword cutler and that she was taught how to fight with a sword. She tells him that she got married to an Innkeeper at the age of fifteen and how her husband treated her badly. She descided to become a robber and took revenge by stealing her husbands money and leaving him.
The man gets to know some of her robber friends and leaves after some days.

Chaper XXX:

The woman he has met tells him about her life. She is the daughter of a sword-cutler and has spent a lot of time in her father’s shop where she learnt how to handle a sword. At the age of 15 she married an inn-keeper, an insolent, imperious man who beat her. Since she didn’t have money she began to steal. She disguised herself by wearing men’s clothes. Finally, in order to take revenge, the woman robbed her husband and left. She gives the rogue the advice to treat women well because otherwise they will take revenge on him.

===Chap. XXXI, 111-117===

The man riding on his own again thinks a lot about the woman robber. He is impressed of the way she deceives her victims-she would put a cushion underneath her clothes, pretending to be pregnant. Men riding along would offer her a ride and when they reached a good place she would overwhelm them and take their possessions.
The man reaches an Inn and gets the information that a wealthy unarmed gentleman left the Inn an hour ago. The man stays for one drink only and rides after the gentleman.He finally reaches him and tells him to hand him his money. The gentleman, to the robbers surprise, is well armed and fires a pistol at him and attacks him with a sword. The robber is injured and the gentleman, a robber himself, takes away his money and his horse.He had tricked the robber through the unsuspecting Innkeeper.
The man takes the old horse from the gentleman-robber and rides to a town nearby.The people are very friendly and take care of him.The gentleman-robber is not found.

Chapter XXXI:

After leaving the woman he arrives at an inn where he wants to rest. However, the hastler keeps him from doing so by telling him about a rich man who has left a short while ago. The rogue is able to find the man but has to find out that the rich man is not an easy prey. He is able to fire at the rogue and escapes with the rogue’s money and the rogue’s horse. Left with his victim’s horse, the rogue is attacked by five or six rogues. He manages to escape and rests in an unknown place. Unfortunately, someone recognizes the rich man’s horse. One assumes that the rogue has murdered the rich gentleman and decides to hang him for the committed crime. However, the rogue is discharged when the rich gentleman appears.

===Chap. XXXII===

===Chap. XXXIII===

===Chap. XXXIV===

===Chap. XXXV===

===Chap. XXXVI===

===Chap. XXXVII===

===Chap. XXXVIII===
page 75 - 78 summary :

He walks down the street and notices a man with an interesting and very used wardrobe. He describes the man´s hat, doublet, cloak, breechea and skirts. He invites the man into an Ale-house an questions him about his stange outfit. He brings the man new clothes and walks with him in the streets.They see an easy to steal hogshead of wine. The man "hires" two or three more Rouges and they steal the hogshead at night.

page 94-102 summary:

He meets a young country girl while riding down a road and is amazed by her beauty.
He stays the night at her family´s house and pretends that he is very sick the next day so that he can stay longer. After beeing sick for about two weeks he asks the girls parents to let him marry her. They accept. Her father catches them naked and wants them to marry quickly.The man leaves unknown and sends the girl twenty pieces of gold and a poem.

===Chap. XXXIX===

===Chap. XL===

===Chap. XLI===

===Chap. XLII===

===Chap. XLIII===

===Chap. XLIV===

===Chap. XLV===

===Chap. XLVI===

===Chap. XLVII===

===Chap. XLVIII===

===Chap. XLIX===

===Chap. L===

===Chap. LI p.3-1===

===Chap. LII===

===Chap. LIII===

===Chap. LIV===

===Chap. LV===

===Chap. LVI===

===Chap. LVII===

===Chap. LVIII===

===Chap. LIX===

===Chap. LX===

===Chap. LXI===

===Chap. LXII===

===Chap. XIII===

===Chap. LXIV===

===Chap. LXV===

===Chap. LXVI===

===Chap. LXVII===

===Chap. LXVIII===

===Chap. LXIX===

===Chap. LXX===

===Chap. LXXI===

===Chap. LXXII===

===Chap. XXIII===

===Chap. XXIV===

===Chap. XXV===

===Chap. XXVI===

==Links==
*[Richard Head] ''The English rogue described in the life of Meriton Latroon, a witty extravagant''. London: Francis Kirkman, 1666. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=15585368&FILE=../session/1210091335_12425&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=config.cfg&DISPLAY=default EEBO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1666_Head_The_English_Rogue.pdf Anglistik Server Oldenburg]
*[A shortened cheap book version:] ''The life and death of the English rogue, or, His last legacy to the world.'' London, 1679. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12253472&FILE=../session/1210087652_12132&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO]

[[Category:17th century|1665]]
[[Category:1660s|1665]]
[[Category:By author|Head, Richard]]

User:Bastian Martens

2008-05-11T14:37:20Z

Bastian Martens:

A short introduction:

My name is Bastian Martens. I'm studying English and History (LA Gym) at the CvO-University, Oldenburg.

(More information is soon to come...)

'''Recently involved in:'''

[[2008 MM Origins of the Novel 1473-1700|Origins of the Novel 1473-1700]]
* [[Rogue Stories Research Group]]

[[2008 MM Present US-Cinema and the Death Penalty|Present US-Cinema and the Death Penalty]]

--[[User:Bastian Martens|Bastian Martens]] 09:13, 21 April 2008 (CEST)

User talk:Bastian Martens

2008-05-09T08:06:56Z

Bastian Martens:

Rogue Stories Research Group

2008-05-05T17:55:51Z

Bastian Martens:

!!!Work in progress!!!

'''Participants:'''

[[user:Bastian Martens|Bastian Martens]]

[[user:Iris Poller|Iris Poller]]

[[user:Robert Stahlschmidt|Robert Stahlschmidt]]

[[user:Malte Maria Unverzagt|Malte Maria Unverzagt]]

In the course of the seminar [[2008 MM Origins of the Novel 1473-1700|Origins of the Novel 1473-1700]] we are researching rogue stories. (Surprised, eh?)

Feel free to join our (upcoming) discussion.

--[[User:Bastian Martens|Bastian Martens]] 09:05, 21 April 2008 (CEST)

'''Seminar Meeting: 07 May 2008:'''

We've decided to focus this meeting on Richard Head's 'English Rogue'. As it is too long for the seminar, we will provide you with some information on Head, the English Rogue and the genre, in the first place.

However, we would like you to read Richard Head's 'The life and death of the English rogue' (1679), a shorter story of about 30 pages on the same subject. [http://eebo.chadwyck.com.proxy.nationallizenzen.de/search/full_rec?SOURCE=config.cfg&action=byid&ID=12253472&SUBSET=| 'The life and death of the English rogue' on EEBO]

Additionally, we've found a very short ballad, which has some similarities to rogue stories and which we found worth discussing:
[http://eebo.chadwyck.com/search/full_rec?ACTION=ByID&SOURCE=pdfdownload.cfg&ID=99891611 'Joy and sorrow mixt together']

You can also have a look at THE English Rogue. Don't read everything, just have a look at one or another chapter to get an impression:
[http://eebo.chadwyck.com/search/full_rec?ACTION=ByID&SOURCE=pdfdownload.cfg&ID=15585368 Richard Head: 'The English rogue described in the life of Meriton Latroon']

Talk:Rogue Stories Research Group

2008-05-05T17:52:52Z

Bastian Martens:

...you know that you can include translations into English if you find them fascinating (I am just looking through EEBO to see what kind of materials you will find there) (strange materials...) (whish I had read Head's book - why did not the ''English Rogue'' become the "first English Novel?" (to speak with Ian Watt) - why ''Robinson Crusoe''??? --[[User:Olaf Simons|Olaf Simons]] 10:38, 21 April 2008 (CEST)

So, hab mal angefangen mich nen bisschen in den verschiedenen Datenbanken umzuschauen...

*ESTC-Titelsuche: rogue -> 103 Einträge von 1622-1799
::jedes Land schien seinen eigenen Schurken gehabt zu haben:
::*'The English Rogue' by Richard Head (eindeutig die populärste Rogue Story: 'continued', 'reviv'd', 'the third part', 'the life and death of...'; oder nur unveränderte Neuauflagen?)
::::Wäre es evtl. wert im Seminar behandelt zu werden...
::*The French Rogue
::*The German Rogue
::*The Dutch Rogue
::*The Highland Rogue
::*The Irish Rogue
::*The Scotch Rogue, The Scots Rogue
::*The Spanish Rogue

*EEBO-Suche: rogue -> 57 Einträge, auf den ersten Blick finden sich hier die selben Titel, die ESTC auflistet, lediglich scheinen die Titel nicht in sämtlichen Auflagen erfasst zu sein...
::*Richard Head's 'The English Rogue' liegt in vielfacher Version vor... hmm, stell grad fest, dass die Geschichte eindeutig zu lang ist! Über 100 Seiten...
::*Rogue Stories schienen grundsätzlich etwas länger gewesen zu sein. Falls wir nix kurzes finden, könnte man sich evtl auf ne Kapitelauswahl beschränken...
:::[Ich schalte mich dazwischen: Ich denke Ihr solltet etwas vom ''English Rogue'' dabei haben - entschloß mich gerade im nächsten Semester ein Seminar zu ihm zu machen, da ich zu dem selben untersuchungsbefund kam. --[[User:Olaf Simons|Olaf Simons]] 11:37, 24 April 2008 (CEST)]

*könnte auch ganz interessant sein: EEBO hat Richard Head in die Kategorie 'rogues and vagabonds' eingeordnet. Darunter finden sich neben dem Genannten auch einige Gesetze und Verordnungen zum Umgang mit diesen.

*Folgende Geschichte hab ich unter dem Suchbegriff 'rogueries' gefunden: Flatman, Thomas: 'Don Juan Lamberto: or, A comical history of our late times.' Ich hätte nen Link angegeben, aber da ich mich über die Nationallizenzenseite eingeloggt habe, würde der vermutlich bei niemandem funktionieren. Einfach bei EEBO nach dem Autoren suchen. Ich hab mir die Erstauflage von 1660 runtergeladen... die hat nur 58 Seiten :-)
::[Ich glaube Du kannst Links angeben und jeder kann mit seiner Lizenz auf sie zugreifen - oder mit dem Uni-Oldenburg-Zugang --[[User:Olaf Simons|Olaf Simons]] 11:39, 24 April 2008 (CEST)]

--[[User:Bastian Martens|Bastian Martens]] 11:31, 24 April 2008 (CEST)

Linksammlung für die Gruppenmitglieder:

[http://eebo.chadwyck.com/search/full_rec?ACTION=ByID&SOURCE=pdfdownload.cfg&ID=15585368 Richard Head: 'The English rogue described in the life of Meriton Latroon'] (200+ Seiten)

[http://eebo.chadwyck.com/search/full_rec?ACTION=ByID&SOURCE=pdfdownload.cfg&ID=99883039 Elizabeth Cellier: Malice defeated] (46 Seiten)

[http://eebo.chadwyck.com/search/full_rec?ACTION=ByID&SOURCE=pdfdownload.cfg&ID=99863392 E.S.: The witty rogue arraigned] (47 Seiten)

2008 MM Origins of the Novel 1473-1700

2008-05-05T17:36:43Z

Bastian Martens: /* • 7.5.2008: Rogue stories */

*We 16 - 18,
*A10 1-121a
*[[User:Olaf Simons|Olaf Simons]]
*[[Mastermodul]] Klausurvorbereitend: English Literature

The modern novel is still generally seen as a production beginning in the period around 1700 – if Defoe was not its father, Aphra Behn, a generation earlier, had to be its mother. Traditionally a production of “romances” was believed to have preceded the early novel – French baroque romances the expert on English literature could dare to ignore.

The seminar will step into the territory before 1700 and look at the various beginnings offered here be it in the form of shorter prose stories (“novels” in the original sense of the word), of “romances”, or of more or less fictitious diaries and histories, of works of taste and of “low” entertainments.

A body of six texts will be discussed in group, individual research should use the debate to branch out into individual fields of interest.

----

Get your share of the national license so that you can access

*[http://eebo.chadwyck.com/home EEBO] — book production 1473-1700
*[http://galenet.galegroup.com/servlet/ECCO?locID=bis ECCO] — the book production of the 18th century
*more links at [[Links]]

==• 09.04.2008==
Course outline

==• 16.04.2008: Thie rise of the novel==
*Comparison of [[William Painter, The palace of pleasure (1566)]] and [[Delarivier Manley, The power of love (1720)]]

Work to be done: Read either of Manley's Novels 3 and 4 (personal preference) and compare them with the respective parallel novel in Painter (Nos. 42-43). Direct links to pdf files on the institute's server: Painter [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1566_painter__palace_of_pleasure.pdf] - Manley [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1720_manley_delarivier__power_of_love.pdf]

==• 23.04.2008: The market of novels==
Where do we find the word, what does it signify? How does it relate to the ''novella''?

'''Tasks'''
*search The ESTC for the term novel, create an overview of the quantitative production. We can split this and look at centuries or half centuries and put the results together in joint work.
*take a look at Ian Watt's Rise of the Novel and get a gist of the argument. What does he say about the early market?

Fabian tried to access EEBO without a national license access code - which he could not outside the university web. We decided that I would give a link to a novel of my choice:

* ''The English monsieur a comical novel : wherein his travells, amours, and other passages of his life no less strange than delightful, are faithfully set down by an impartial hand : in four parts.'' London: Printed for William Cademan ..., 1679. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12083737&FILE=../session/1208538364_11897&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1679-howard_james-the_english_monsieur.pdf Anglistik Server Oldenburg]

I choose it because it had a French touch and an English topic. You may read this as your preparation or any other novel you rather want to read and find in EEBO. Note: Your title has to bear the word "novel" oder "novela" or "nouvelle" (etc.) on the title page - and I will appreciate a short statement on what made you choose your novel out of the many. --[[User:Olaf Simons|Olaf Simons]] 20:09, 21 April 2008 (CEST)

:--> I (Fabian) have made a choice; if you would like to read two texts or if you would like to read mine rather than the other, please look up the following novel at EEBO:

:* Aphra Behn: "The unfortunate bride, or, The Blind lady a beauty", 1700

That's the following [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=17891359&FILE=../session/1208801527_6935&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO]-Link --[[User:Olaf Simons|Olaf Simons]] 20:14, 21 April 2008 (CEST)

==• 30.04.2008: Novels vs. Romances==
We shifted the schedule to delay the Rogue stories - so a third session on "novels".

'''Tasks'''
*Compare Ian Watt on the Rise of the Novel with the preface to ''The Secret History, of Queen Zarah, and the Zarazians'' (Albigion, 1705) - which you will find in French, English and German contemporary versions at http://www.pierre-marteau.com/editions/1683-1712-novels.html
*Read either ''The English monsieur a comical novel : wherein his travells, amours, and other passages of his life no less strange than delightful, are faithfully set down by an impartial hand : in four parts.'' London: Printed for William Cademan ..., 1679. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12083737&FILE=../session/1208538364_11897&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1679-howard_james-the_english_monsieur.pdf Anglistik Server Oldenburg]
*or read a "novel" (the word has to appear on the title page) of your choice from EEBO - and offer us a title page reproduction and a short summary.

'''Discussion'''
*What do our novels have in common?
*How do your observations relate to the preface of ''Queen Zarah'' and to Ian Watt's book
*Why should short novels be better than long romances?
*...more questions? Ask them here.

==• 7.5.2008: Rogue stories==
'''Group:''' Bastian Martens, Robert Stahlschmidt, Malte Maria Unverzagt, Iris Poller

'''Reading material for this session''': [[Rogue Stories Research Group]]

Those who went into the Rogue stories group will find first hints in my book p.525-28. The most important text (which cannot become a seminar reading in its entirety) is Richard Head's ''English Rogue'' (1665 ff.) See the [http://en.wikipedia.org/wiki/Richard_Head en.wikipedia]-article. More difficult to categorise are the reports on criminals which did also occasionally adopt the title of "rogue" stories. "Satirical romances" are a parallel genre - or the larger genre incorporating these stories...

'''Task'''
*The group should do some research on the ESTC to get an impression of how many of these books were produced between 1473 and 1700
*Each group member should choose a title of his or her interest and propose it as seminar reading. A Thesenpapier of ideas on the questions below would be welcome to feed the discussion.

'''Seminar debate'''
*What do these titles have in common? Is there a genre - or is it a mixture of crime cases and satirical romances? What does the research in our library say about these titles (see the Handapparat). In case you find secondary literature on the subject in MLA we do not have, tell me and I take care that the library buys them.

==• 14.05.2008: Rogue stories==

==• 21.05.2008: Chap books - the market of cheap books==
'''Group:''' Dorothee Keßler

Ideally you will find most of the genres in cheap editions. A list published in 1719 can be found at the end of: ''The Illustrious and Renown'd History of the Seven Famous Champions of Christendom'' (London: T. Norris/ A. Bettesworth, 1719). [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=0005901300&srchtp=b&c=1&SU=All&df=f&d2=163&docNum=CW3310550649&b0=Seven+Famous+Champions+of+Christendom&h2=1&vrsn=1.0&b1=KE&d6=163&d3=163&ste=10&stp=Author&d4=0.33&n=10&d5=d6 ECCO]

Author: Smithson, Samuel. Title: The famous history of Guy Earl of Warwick Date: 1600
[http://eebo.chadwyck.com.proxy.nationallizenzen.de/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12029748&FILE=../session/1209318375_12452&SEARCHSCREEN=CITATIONS&VID=52723&PAGENO=2&ZOOM=FIT&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD=] [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12029748&FILE=../session/1209373069_24800&SEARCHSCREEN=CITATIONS&VID=52723&PAGENO=1&ZOOM=&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=DATE_ASC&HIGHLIGHT_KEYWORD= EEBO on Campus]

==• 28.05.2008: Pornography - if the term is appropriate==
'''Group:''' Sonja Büsing, Kendall K. Sadler, Marie-Catherine Bartels

Problem is here that the term "pornography" was not in use though we have stories we could put into the category. Some of the titles Inger Leemans listed for the Dutch market had English predecessors. I can provider Ingers dissertation - it is in Dutch. She also gave list on the web.

==• 24.06.2008: Secret histories and politics==
'''Group:''' Alex Storch, Jan Gaebel, Christian Ueckert.

==• 11.06.2008: Secret histories and politics==

==• 18.06.2008: Romances - the French market==
'''Group:''' Manuela Seidel , Anke Herbers, Christina Nolte

==• 25.06.2008: ''King Arthur'' and the ''Amadis''==

==• 02.07.2008: The history of romances==

==• 09.07.2008: The history of the novel==

===Texts===
*[[William Painter, The palace of pleasure (1566)]]
*[[Delarivier Manley, The power of love (1720)]]

===Literature===
*Watt, Ian, ''The Rise of the Novel. Studies in Defoe, Richardson, and Fielding'' (London, 1957).
*Richetti, John J., ''Popular Fiction before Richardson. Narrative Patterns 1700-1739'' (Oxford, 1969).
*Spufford, Magaret, ''Small Books and Pleasant Histories'' (London, 1981). IBIT: bub 276.3 eng AW 8473
*Davis, Lennard J., ''Factual Fictions. The Origins of the English Novel'' (New York, 1983). IBIT: ang 527.3 CE 7661 '''nicht ausgel., vorgemerkt für Handapparat 907 - who is that???'''
*McKeon, Michael, "Generic Transformation and Social Change: Rethinking the Rise of the Novel," ''Cultural Critique'', 1 (1985). [repr. in Damrosch, Leopold Jr., ''Modern Essays on Eighteenth Century Literature'' (New York/ Oxford, 1988), p.159-81.
*Spencer, Jane, ''The Rise of Woman Novelists. From Aphra Behn to Jane Austen'' (Oxford, 1986).
*Spender, Dale, ''Mothers of the Novel. 100 Good Women Writers Before Jane Austen'' (London/ New York, 1986). IBIT: ang 527.5 fra BK 1326
*McKeon, Michael, ''The Origins of the English Novel 1600-1740'' (Baltimore: Johns Hopkins University Press, 1987). IBIT: ang 356 BP 8276,2002
*Todd, Janet, ''The Sign of Angellica. Women, Writing, and Fiction, 1660-1800'' (London, 1989). IBIT: ang 356 BP 8276,2002
*Hunter, Paul J., ''Before Novels. The Cultural Contexts of Eighteenth Century English Fiction'' (New York/ London, 1990).
*Relihan, Constance Caroline, ''Fashioning authority: the development of Elizabethan novelistic discourse'' (Kent, Ohio/ London: Kent State University Press, 1994). ISBN 0873384954
*Watt, Tessa, ''Cheap print and popular piety: 1550-1640'' [=''Cambridge studies in early modern British history''] (Cambridge: 1994). ISBN 0-521-45827-7, ISBN 0-521-38255-6
*Doody, Margaret Anne, ''The true story of the novel'' (London: Fontana Press, 1996). ISBN 0-00-686379-5
*Relihan, Constance C. (ed.), ''Framing Elizabethan fictions: contemporary approaches to early modern narrative prose'' (Kent, Ohio/ London: Kent State University Press, 1996). ISBN 0873385519
*''Reconsidering The Rise of the Novel - Eighteenth Century Fiction'', Volume 12, Number 2-3, ed. David Blewett (January-April 2000). ASIN: B000MV7YGA [http://www.amazon.com/Reconsidering-Rise-Novel-Eighteenth-January-April/dp/B000MV7YGA Amazon]
*Michael McKeon, ''Theory of the Novel: A Historical Approach'' (Baltimore: Johns Hopkins University Press, 2000).
*Simons, Olaf, ''Marteaus Europa, oder, Der Roman, bevor er Literatur wurde'' (Amsterdam: Rodopi, 2001).
*Relihan, Constance C./ Goran V. Stanivukovic (eds.), ''Prose fiction and early modern sexuality in England, 1570-1640'' (New York/ Basingstoke: Palgrave Macmillan, 2003). ISBN 1403963886
*Mentz, Steve, ''Romance for sale in early modern England: the rise of prose fiction'' (Aldershot [etc.]: Ashgate, 2006). ISBN 0-7546-5469-9
* Raymond, Joad, ''Pamphlets and pamphleteering in early modern Britain'' [=''Cambridge studies in early modern British history''] (Cambridge [etc.]: Cambridge Univ. Press, 2006). ISBN 0-521-02877-9

[[Category:Summer 2008]]
[[Category:Mastermodul]]

Rogue Stories Research Group

2008-05-05T17:33:17Z

Bastian Martens:

User:Bastian Martens

2008-04-29T22:50:15Z

Bastian Martens:

A short introduction:

My name is Bastian Martens. I'm studying English and History (LA Gym) at the CvO-University, Oldenburg.

(More information is soon to come...)

'''Recently involved in:'''

[[2008 MM Origins of the Novel 1473-1700|Origins of the Novel 1473-1700]]
* [[Rogue Stories Research Group]]

[[2008 MM Present US-Cinema and the Death Penalty|Present US-Cinema and the Death Penalty]]

--[[User:Bastian Martens|Bastian Martens]] 09:13, 21 April 2008 (CEST)

'''unavailable from 30/04/2008 until 04/05/2008'''

2008 MM Origins of the Novel 1473-1700

2008-04-29T22:46:50Z

Bastian Martens: /* • 7.5.2008: Rogue stories */

*We 16 - 18,
*A10 1-121a
*[[User:Olaf Simons|Olaf Simons]]
*[[Mastermodul]] Klausurvorbereitend: English Literature

The modern novel is still generally seen as a production beginning in the period around 1700 – if Defoe was not its father, Aphra Behn, a generation earlier, had to be its mother. Traditionally a production of “romances” was believed to have preceded the early novel – French baroque romances the expert on English literature could dare to ignore.

The seminar will step into the territory before 1700 and look at the various beginnings offered here be it in the form of shorter prose stories (“novels” in the original sense of the word), of “romances”, or of more or less fictitious diaries and histories, of works of taste and of “low” entertainments.

A body of six texts will be discussed in group, individual research should use the debate to branch out into individual fields of interest.

----

Get your share of the national license so that you can access

*[http://eebo.chadwyck.com/home EEBO] — book production 1473-1700
*[http://galenet.galegroup.com/servlet/ECCO?locID=bis ECCO] — the book production of the 18th century
*more links at [[Links]]

==• 09.04.2008==
Course outline

==• 16.04.2008: Thie rise of the novel==
*Comparison of [[William Painter, The palace of pleasure (1566)]] and [[Delarivier Manley, The power of love (1720)]]

Work to be done: Read either of Manley's Novels 3 and 4 (personal preference) and compare them with the respective parallel novel in Painter (Nos. 42-43). Direct links to pdf files on the institute's server: Painter [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1566_painter__palace_of_pleasure.pdf] - Manley [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1720_manley_delarivier__power_of_love.pdf]

==• 23.04.2008: The market of novels==
Where do we find the word, what does it signify? How does it relate to the ''novella''?

'''Tasks'''
*search The ESTC for the term novel, create an overview of the quantitative production. We can split this and look at centuries or half centuries and put the results together in joint work.
*take a look at Ian Watt's Rise of the Novel and get a gist of the argument. What does he say about the early market?

Fabian tried to access EEBO without a national license access code - which he could not outside the university web. We decided that I would give a link to a novel of my choice:

* ''The English monsieur a comical novel : wherein his travells, amours, and other passages of his life no less strange than delightful, are faithfully set down by an impartial hand : in four parts.'' London: Printed for William Cademan ..., 1679. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12083737&FILE=../session/1208538364_11897&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1679-howard_james-the_english_monsieur.pdf Anglistik Server Oldenburg]

I choose it because it had a French touch and an English topic. You may read this as your preparation or any other novel you rather want to read and find in EEBO. Note: Your title has to bear the word "novel" oder "novela" or "nouvelle" (etc.) on the title page - and I will appreciate a short statement on what made you choose your novel out of the many. --[[User:Olaf Simons|Olaf Simons]] 20:09, 21 April 2008 (CEST)

:--> I (Fabian) have made a choice; if you would like to read two texts or if you would like to read mine rather than the other, please look up the following novel at EEBO:

:* Aphra Behn: "The unfortunate bride, or, The Blind lady a beauty", 1700

That's the following [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=17891359&FILE=../session/1208801527_6935&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO]-Link --[[User:Olaf Simons|Olaf Simons]] 20:14, 21 April 2008 (CEST)

==• 30.04.2008: Novels vs. Romances==
We shifted the schedule to delay the Rogue stories - so a third session on "novels".

'''Tasks'''
*Compare Ian Watt on the Rise of the Novel with the preface to ''The Secret History, of Queen Zarah, and the Zarazians'' (Albigion, 1705) - which you will find in French, English and German contemporary versions at http://www.pierre-marteau.com/editions/1683-1712-novels.html
*Read either ''The English monsieur a comical novel : wherein his travells, amours, and other passages of his life no less strange than delightful, are faithfully set down by an impartial hand : in four parts.'' London: Printed for William Cademan ..., 1679. [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12083737&FILE=../session/1208538364_11897&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR EEBO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1679-howard_james-the_english_monsieur.pdf Anglistik Server Oldenburg]
*or read a "novel" (the word has to appear on the title page) of your choice from EEBO - and offer us a title page reproduction and a short summary.

'''Discussion'''
*What do our novels have in common?
*How do your observations relate to the preface of ''Queen Zarah'' and to Ian Watt's book
*Why should short novels be better than long romances?
*...more questions? Ask them here.

==• 7.5.2008: Rogue stories==
'''Group:''' Bastian Martens, Robert Stahlschmidt, Malte Maria Unverzagt, Iris Poller

see also: [[Rogue Stories Research Group]] --> updated with reading material

Those who went into the Rogue stories group will find first hints in my book p.525-28. The most important text (which cannot become a seminar reading in its entirety) is Richard Head's ''English Rogue'' (1665 ff.) See the [http://en.wikipedia.org/wiki/Richard_Head en.wikipedia]-article. More difficult to categorise are the reports on criminals which did also occasionally adopt the title of "rogue" stories. "Satirical romances" are a parallel genre - or the larger genre incorporating these stories...

'''Task'''
*The group should do some research on the ESTC to get an impression of how many of these books were produced between 1473 and 1700
*Each group member should choose a title of his or her interest and propose it as seminar reading. A Thesenpapier of ideas on the questions below would be welcome to feed the discussion.

'''Seminar debate'''
*What do these titles have in common? Is there a genre - or is it a mixture of crime cases and satirical romances? What does the research in our library say about these titles (see the Handapparat). In case you find secondary literature on the subject in MLA we do not have, tell me and I take care that the library buys them.

==• 14.05.2008: Rogue stories==

==• 21.05.2008: Chap books - the market of cheap books==
'''Group:''' Dorothee Keßler

Ideally you will find most of the genres in cheap editions. A list published in 1719 can be found at the end of: ''The Illustrious and Renown'd History of the Seven Famous Champions of Christendom'' (London: T. Norris/ A. Bettesworth, 1719). [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=0005901300&srchtp=b&c=1&SU=All&df=f&d2=163&docNum=CW3310550649&b0=Seven+Famous+Champions+of+Christendom&h2=1&vrsn=1.0&b1=KE&d6=163&d3=163&ste=10&stp=Author&d4=0.33&n=10&d5=d6 ECCO]

Author: Smithson, Samuel. Title: The famous history of Guy Earl of Warwick Date: 1600
[http://eebo.chadwyck.com.proxy.nationallizenzen.de/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12029748&FILE=../session/1209318375_12452&SEARCHSCREEN=CITATIONS&VID=52723&PAGENO=2&ZOOM=FIT&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD=] [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12029748&FILE=../session/1209373069_24800&SEARCHSCREEN=CITATIONS&VID=52723&PAGENO=1&ZOOM=&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=DATE_ASC&HIGHLIGHT_KEYWORD= EEBO on Campus]

==• 28.05.2008: Pornography - if the term is appropriate==
'''Group:''' Sonja Büsing, Kendall K. Sadler, Marie-Catherine Bartels

Problem is here that the term "pornography" was not in use though we have stories we could put into the category. Some of the titles Inger Leemans listed for the Dutch market had English predecessors. I can provider Ingers dissertation - it is in Dutch. She also gave list on the web.

==• 24.06.2008: Secret histories and politics==
'''Group:''' Alex Storch, Jan Gaebel, Christian Ueckert.

==• 11.06.2008: Secret histories and politics==

==• 18.06.2008: Romances - the French market==
'''Group:''' Manuela Seidel , Anke Herbers, Christina Nolte

==• 25.06.2008: ''King Arthur'' and the ''Amadis''==

==• 02.07.2008: The history of romances==

==• 09.07.2008: The history of the novel==

===Texts===
*[[William Painter, The palace of pleasure (1566)]]
*[[Delarivier Manley, The power of love (1720)]]

===Literature===
*Watt, Ian, ''The Rise of the Novel. Studies in Defoe, Richardson, and Fielding'' (London, 1957).
*Richetti, John J., ''Popular Fiction before Richardson. Narrative Patterns 1700-1739'' (Oxford, 1969).
*Spufford, Magaret, ''Small Books and Pleasant Histories'' (London, 1981). IBIT: bub 276.3 eng AW 8473
*Davis, Lennard J., ''Factual Fictions. The Origins of the English Novel'' (New York, 1983). IBIT: ang 527.3 CE 7661 '''nicht ausgel., vorgemerkt für Handapparat 907 - who is that???'''
*McKeon, Michael, "Generic Transformation and Social Change: Rethinking the Rise of the Novel," ''Cultural Critique'', 1 (1985). [repr. in Damrosch, Leopold Jr., ''Modern Essays on Eighteenth Century Literature'' (New York/ Oxford, 1988), p.159-81.
*Spencer, Jane, ''The Rise of Woman Novelists. From Aphra Behn to Jane Austen'' (Oxford, 1986).
*Spender, Dale, ''Mothers of the Novel. 100 Good Women Writers Before Jane Austen'' (London/ New York, 1986). IBIT: ang 527.5 fra BK 1326
*McKeon, Michael, ''The Origins of the English Novel 1600-1740'' (Baltimore: Johns Hopkins University Press, 1987). IBIT: ang 356 BP 8276,2002
*Todd, Janet, ''The Sign of Angellica. Women, Writing, and Fiction, 1660-1800'' (London, 1989). IBIT: ang 356 BP 8276,2002
*Hunter, Paul J., ''Before Novels. The Cultural Contexts of Eighteenth Century English Fiction'' (New York/ London, 1990).
*Relihan, Constance Caroline, ''Fashioning authority: the development of Elizabethan novelistic discourse'' (Kent, Ohio/ London: Kent State University Press, 1994). ISBN 0873384954
*Watt, Tessa, ''Cheap print and popular piety: 1550-1640'' [=''Cambridge studies in early modern British history''] (Cambridge: 1994). ISBN 0-521-45827-7, ISBN 0-521-38255-6
*Doody, Margaret Anne, ''The true story of the novel'' (London: Fontana Press, 1996). ISBN 0-00-686379-5
*Relihan, Constance C. (ed.), ''Framing Elizabethan fictions: contemporary approaches to early modern narrative prose'' (Kent, Ohio/ London: Kent State University Press, 1996). ISBN 0873385519
*''Reconsidering The Rise of the Novel - Eighteenth Century Fiction'', Volume 12, Number 2-3, ed. David Blewett (January-April 2000). ASIN: B000MV7YGA [http://www.amazon.com/Reconsidering-Rise-Novel-Eighteenth-January-April/dp/B000MV7YGA Amazon]
*Michael McKeon, ''Theory of the Novel: A Historical Approach'' (Baltimore: Johns Hopkins University Press, 2000).
*Simons, Olaf, ''Marteaus Europa, oder, Der Roman, bevor er Literatur wurde'' (Amsterdam: Rodopi, 2001).
*Relihan, Constance C./ Goran V. Stanivukovic (eds.), ''Prose fiction and early modern sexuality in England, 1570-1640'' (New York/ Basingstoke: Palgrave Macmillan, 2003). ISBN 1403963886
*Mentz, Steve, ''Romance for sale in early modern England: the rise of prose fiction'' (Aldershot [etc.]: Ashgate, 2006). ISBN 0-7546-5469-9
* Raymond, Joad, ''Pamphlets and pamphleteering in early modern Britain'' [=''Cambridge studies in early modern British history''] (Cambridge [etc.]: Cambridge Univ. Press, 2006). ISBN 0-521-02877-9

[[Category:Summer 2008]]
[[Category:Mastermodul]]

Rogue Stories Research Group

2008-04-29T22:38:16Z

Bastian Martens:

Tim Robbins (dir.), Dead Man Walking (1995 film)

2008-04-25T10:34:18Z

Bastian Martens: /* Reviews */

Film, USA 1995.

==Links==
* [http://en.wikipedia.org/wiki/Dead_Man_Walking_%28film%29 ''Dead Man Walking''] (1995) directed by Tim Robbins, starring Susan Sarandon and Sean Penn. [http://www.imdb.com/title/tt0112818/ IMDb]

==Reviews==

* [http://www.cineman.de/movie/1995/DeadManWalking/review.html cineman.de] Eine deutsche Rezension von Martin Glauser, dennoch interessant. Sie kritisiert die filmische Technik einer "fatale[n] Parallelmontage" von der Exekution, dem Mord an den Teenagern, dem Injektionsprozess und dem sterbenden Matthew als "plumpe rhetorische Figur", weil sie die Exekution als "Legitimation jener barbarischen Justiz" präsentiert. Dies wiederum schien nicht Tim Robbins Absicht zu sein, sondern eher eine Kritik an der Todesstrafe. Zudem wirft die Rezension einen Blick auf den religiösen Teil des Films. Die Darstellung von Susan Sarandon spiegelt den "American Way of Being Concerned" wider - die "christliche Logik der Argumentation verleiht dem Film eine gewisse philosophische Unschärfe, sie verhindert ein klares Statement". Abschließend weist der Film eine "skandalöse Impertinenz" auf, da es Sister Helen am Ende noch gelingt, eine "Bekehrung in letzter Minute" zu erreichen.
* [http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19960112/REVIEWS/601120301/1023 Suntimes.com] An enthusiastic review by famous Roger Ebert declaring Dead Man Walking "a spiritual drama" in which Sister Helen really cares for the soul of Matthew. Referring to Ebert it is not about fullfilling the religious ritual and repent his sins but to truly understand what he has done, what really happened to him and others. He calls it a movie that will be talked about for a long time. Egbert praises the movie for going deep into the feelings of the characters, for not shying away from overstepping boundaries or being uncomfortable. He never mentions this to be a movie against the death penalty, though.
* [http://uk.rottentomatoes.com/m/1068779-dead_man_walking/?page=1&critic=creamcrop&sortby=date&name_order=desc&view=text#mo Rotten Tomatoes.com] A fantastic site that gathers a huge amount of reviews (Roger Egbert's review I found through this) on movies from magazines and online publications. It gives site users' comments on movies as well. Unfortunately some of the links concerning Dead Man Walking are not available anymore.
* [http://www.filmcritic.com/misc/emporium.nsf/reviews/Dead-Man-Walking filmcritic.com]: a film review from 1995 by Christopher Null. On the first view, this review doesn't offer much; three paragraphs of summary, some comment on the actors... But there were three points in it which I found interesting:
::1. The author describes the film as a "docudrama" as it is "inspired by true events". But does the film really document true events?
::2. On the one hand, the author critisizes the director, calls the beginning of the film "talky and repetitive". It "starts off slow", but "comes together quite nicely." On the other hand, he praises the story as "the real star" and states that the film is "will likely provide material for hours of philophical debate."
::3. In the end, he offers a very provocative question: "What's more fitting for the holidays than a good execution movie, anyway?"
:After all to me this sounds pretty contradictory. Criticism and categorization don't seem to fit together. What kind of film is ''Dead Man Walking''? A documentary? Or just fine entertainment for a holiday? If it is the latter, there will very likely be no philosphical debates...

::just a short remark: your summaries do not help if we have to read these reviews to tell what statements, interpretations, opinions, criticsm they offer. --[[User:Olaf Simons|Olaf Simons]] 15:08, 23 April 2008 (CEST)
:::so how do you want the summary to be written? - so that we can change it. you just said "put a link on the wiki and give a short summary of the review" Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 15:18, 23 April 2008 (CEST)
::::Well as I said: the statement - it does not help me if I read the text makes a brilliant statement in the end. To get a view of the different opinons/views/statements we need the statements themselves (like "criticises the movie as a implicit justification of the death penalty being the very means through which the accused accepts his responsibility..." or "reads the film as religious kitsch" or "praises the film as...")
::::PS - that's the aim - like the first summary... --[[User:Olaf Simons|Olaf Simons]] 16:16, 23 April 2008 (CEST)

[[Category:20th century|1995]]
[[Category:1990s|1995]]
[[Category:By author|Robbins, Tim]]
[[Category:Films (chronological order)|1995]]
[[Category:Films (alphabetical order)|Dead Man Walking]]

* [http://query.nytimes.com/gst/fullpage.html?res=9A07EFDC1239F93AA15751C1A963958260&scp=1&sq=dead+man+walking+film&st=nyt New York Times] this is a link to an official film review published by the New York Times in 1995. It gives a summary of the film and judges the making of the film, the actors` ways of playing the two main characters, and describes the whole atmosphere of the film.

*http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/deadmanwalking.htm: a review by Washington Post Staff Writer Desson Howe; he argues that it is superficial to say that the movie is about the death penalty. You witness the horrors of Death Row and the process of state execution through politically balanced eyes. The movie is "an extremely affecting experience." What matters most is the relationship between Sister Helen and Poncelet. D. Howe, in his review, describes Poncelet as "a caged, unsympathetic weasel, a raging victim, an almost pathetic figure and somewhere inside all of that, a touching human being" and Sarandon as Sister Helen "provides a perfect, understated counterpoint to him."

Talk:Rogue Stories Research Group

2008-04-24T09:31:34Z

Bastian Martens:

...you know that you can include translations into English if you find them fascinating (I am just looking through EEBO to see what kind of materials you will find there) (strange materials...) (whish I had read Head's book - why did not the ''English Rogue'' become the "first English Novel?" (to speak with Ian Watt) - why ''Robinson Crusoe''??? --[[User:Olaf Simons|Olaf Simons]] 10:38, 21 April 2008 (CEST)

So, hab mal angefangen mich nen bisschen in den verschiedenen Datenbanken umzuschauen...

*ESTC-Titelsuche: rogue -> 103 Einträge von 1622-1799
::jedes Land schien seinen eigenen Schurken gehabt zu haben:
::*'The English Rogue' by Richard Head (eindeutig die populärste Rogue Story: 'continued', 'reviv'd', 'the third part', 'the life and death of...'; oder nur unveränderte Neuauflagen?)
::::Wäre es evtl. wert im Seminar behandelt zu werden...
::*The French Rogue
::*The German Rogue
::*The Dutch Rogue
::*The Highland Rogue
::*The Irish Rogue
::*The Scotch Rogue, The Scots Rogue
::*The Spanish Rogue

*EEBO-Suche: rogue -> 57 Einträge, auf den ersten Blick finden sich hier die selben Titel, die ESTC auflistet, lediglich scheinen die Titel nicht in sämtlichen Auflagen erfasst zu sein...
::*Richard Head's 'The English Rogue' liegt in vielfacher Version vor... hmm, stell grad fest, dass die Geschichte eindeutig zu lang ist! Über 100 Seiten...
::*Rogue Stories schienen grundsätzlich etwas länger gewesen zu sein. Falls wir nix kurzes finden, könnte man sich evtl auf ne Kapitelauswahl beschränken...

*könnte auch ganz interessant sein: EEBO hat Richard Head in die Kategorie 'rogues and vagabonds' eingeordnet. Darunter finden sich neben dem Genannten auch einige Gesetze und Verordnungen zum Umgang mit diesen.

*Folgende Geschichte hab ich unter dem Suchbegriff 'rogueries' gefunden: Flatman, Thomas: 'Don Juan Lamberto: or, A comical history of our late times.' Ich hätte nen Link angegeben, aber da ich mich über die Nationallizenzenseite eingeloggt habe, würde der vermutlich bei niemandem funktionieren. Einfach bei EEBO nach dem Autoren suchen. Ich hab mir die Erstauflage von 1660 runtergeladen... die hat nur 58 Seiten :-)

Und jetzt seid ihr dran!!!
--[[User:Bastian Martens|Bastian Martens]] 11:31, 24 April 2008 (CEST)

User talk:Bastian Martens

2008-04-23T13:56:34Z

Bastian Martens:

Tim Robbins (dir.), Dead Man Walking (1995 film)

2008-04-23T12:56:09Z

Bastian Martens: