View source for 2008 MM Present US-Cinema and the Death Penalty

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'''no film evening on'''
'''Wednesday, July 9, 21.30, my place, Tannenkampstr. 12'''

* cancelled (did not think of the guests in my house - sorry) --[[User:Olaf Simons|Olaf Simons]] 14:08, 8 July 2008 (CEST)
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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).
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* 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? 

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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.

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* 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)

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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)
 
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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)

Ich würde auch gerne über "The Brave One" schreiben, aber mehr in die Richtung: Two wrongs don't make one right; also eher über Selbstjustiz selbst. Ich finde es schwer da eine Fragestellung zu formulieren, was mir bis jetzt eingefallen ist, ist "Can one justify self-administered justice?". Vielleicht fällt jemandem was besseres ein...
:Also mir fällt spontan dazu die Frage ein, ob der Film Selbstjustiz propagiert oder nicht, und wenn ja, ob er sich das erlauben darf als Medium der Massenkommunikation (oder Medium überhaupt). Schwierig ist, dass der Film so jung ist und es höchstens Reviews gibt, aber keine Analysen. Vielleicht vergleichst Du ihn mit einem älteren Film, über den es Literatur gibt? Oder Du eröffnest ein Genre der Selbstjustizfilme : ) Möchtest Du Dich eher stilistisch/technisch daran wagen oder inhaltlich/erzählerich? Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 19:53, 9 July 2008 (CEST)

Theorethisch finde ich beide Aspekte (stilistisch/technisch und inhaltlich/erzählerisch) interessant. Vielleicht wäre es sogar möglich beide zu erarbeiten. Ich bin mir halt ziemlich unsicher wie ich die Arbeit gestalten soll...
:Interessant wäre evtl. die Rolle der Frau in diesem Film, die Selbstjustiz ausübt. Wieviele Filme gibt es über Selbstjustiz in denen es eine Protagonistin gibt?! (Das überlege ich gerade). Und ob sich die Darstellung ändert, wenn der Hauptcharakter weiblich ist - Änderung in der Darstellung des Charakters, innere Handlungsmotive, Konflikte, Umfeld der Person etc. Da könntest Du beide Aspekte, technische wie erzählerische, zusammenlegen. Du kannst das mit anderen Filmen vergleichen, die Werte und Normen, die vertreten werden (mir fallen so Stichpunkte ein : ).
:Meinst Du mit Gestaltung den Aufbau? Oder Thema? Habe ich Deine Frage richtig verstanden?! (*blödfrag*) [[User:Verena Engelhardt|Verena Engelhardt]] 20:17, 9 July 2008 (CEST)

Ja, mit Gestaltung meinte ich eigentlich das Thema :) Sorry! Ich hatte auch schon überlegt mich auf die Rolle der Protagonistin zu konzentrieren. Da kam ich auf die Frage inwiefern sich Männer und Frauen unterscheiden (und ob sie sich unterscheiden) wenn sie Selbstjustiz ausüben. Meine erste Idee war, mich auf die Rolle der Protagonistin zu konzentrieren, vor allem wie sie sich ändert. Ich weiß aber nicht, ob dass dann nicht zu psychologisch wird :) Gruß

==July 4: Upcoming seminar papers==
To inspire your work read 
*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]
*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] 

Think of your own plans for seminar papers and the following three tasks:

*What is my question or the intriguing phenomenon I want to write about?
*What (at least two) views/results/opinions could one have on the problem?
*What kind of investigation would be necessary?

You may read the said articles with these tasks in mind - how did these authors do the job when it comes to these questions. What statements did they eventually make?

----

Moin. Ähm, blöde Frage: Sollen wir den Austin Sarat Text als abstract lesen oder die Seiten 153-190? Das sind 37 Seiten - ich habe mir heute in der Bibo aber 58 Seiten ausgedruckt. [[User:Verena Engelhardt|Verena Engelhardt]] 21:28, 3 July 2008 (CEST)
:Frage hat sich erledigt, sah die Mail, die Du vor 10 Minuten geschickt hast. [[User:Verena Engelhardt|Verena Engelhardt]] 21:37, 3 July 2008 (CEST)

==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.

''I offer a screening session for tonight (thursday) at 6 pm. If you are planning to come please tell me via e-mail beacause I have limited room:'' 

''jochen.berkowsky@fortytwo.uni-oldenburg.de''

''My address is Schützenweg 42/2-225. For questions call me: 0441/1817254'' [[User:Jochen Berkowsky|Jochen Berkowsky]] 14:42, 10 July 2008 (CEST)


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.

=== Resources / Links / Materials ===

Use (or create) the following pages to collect information (and feel free add to this list):

*[[James Wan (dir.), Death Sentence (2007 film)]]
*[[Steven Scaffidi (dir.), Execution (2007 film)]]
*[[Neil Jordan (dir.), The Brave One (2007 film)]]
*[[Jonathan Hensleigh (dir.), The Punisher (2004 film)]]
*[[Vondie Curtis-Hall (dir.), Redemption: The Stan Tookie Williams Story (2004 film)]]
*[[Alan Parker (dir.), The Life of David Gale (2003 film)]]
*[[Patty Jenkins (dir.), Monster (2003 film)]]
*[[Marc Foster (dir.), Monster's Ball (2001 film)]]
*[[Lars von Trier (dir.), Dancer in the Dark (2000 film)]]
*[[Clint Eastwood (dir.), True Crime (1999 film)]]
*[[Bruce Beresford (dir.), Double Jeopardy (1999 film)]]
*[[Frank Darabont (dir.), The Green Mile (1999 film)]]
*[[James Foley (dir.), The Chamber (1996 film)]]
*[[Joel Schumacher (dir.), A Time to Kill (1996 film)]]
*[[Bruce Beresford (dir.), Last Dance (1996 film)]]
*[[Tim Robbins (dir.), Dead Man Walking (1995 film)]]
*[[Arne Glimcher (dir.), Just Cause (1995 film)]]
*[[David Fincher (dir.), Seven (1995 film)]]
*[[Robert Altman (dir.), The Player (1992 film)]]
*[[Don Siegel (dir.), Dirty Harry (1971 film)]]
*[[Robert Wise (dir.), I Want to Live! (1958 film)]]
*[[Michael Curtiz (dir.), Angels with Dirty Faces (1938 film)]]

categorise pages by leaving the following entries at the bottom of any new page (example taken from the Clint Eastwood page):

<nowiki>[[Category:20th century|1999]]</nowiki><br>
<nowiki>[[Category:1990s|1999]]</nowiki><br>
<nowiki>[[Category:By author|Eastwood, Clint]]</nowiki><br>
<nowiki>[[Category:Films (chronological order)|1999]]</nowiki><br>
<nowiki>[[Category:Films (alphabetical order)|True Crime]]</nowiki><br>

=== 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]

* [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] <font color=red>not ordered for library</font>
 
* [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===
<small>MLA on "Death Penalty", "Capital Punishment", "Execution", "The Player"</small>

'''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] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/death_pen_films2.doc doc on our server]
*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.movie-college.de/filmschule/index.htm www.movie-college.de/filmschule] German page about cinematic terms and techniques.
* [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]]