This book responds to a growing interest in death, dying and the dead within and beyond the field of death studies. The collection defines an understanding of ‘difficult death’ and examines the differences between death, dying and the dead, as well as exploring the ethical challenges of researching death in mediated form. The collection is attendant to the ways in which difficult deaths are imbricated in power structures both before and after they become mediatised in culture. As such, the work navigates the many political and social complexities and inequalities – what might be deemed the difficulties – of death, dying and the dead. The book seeks to expand understandings of the difficulty of death in media and culture through a wide range of chapters from different contexts focused on literature, film, television, and in online environments, as well as several chapters examining news reportage of difficult deaths.

This book responds to a growing interest in death, dying and the dead within and beyond the field of death studies. The collection defines an understanding of ‘difficult death’ and examines the differences between death, dying and the dead, as well as exploring the ethical challenges of researching death in mediated form. The collection is attendant to the ways in which difficult deaths are imbricated in power structures both before and after they become mediatised in culture. As such, the work navigates the many political and social complexities and inequalities – what might be deemed the difficulties – of death, dying and the dead. The book seeks to expand understandings of the difficulty of death in media and culture through a wide range of chapters from different contexts focused on literature, film, television, and in online environments, as well as several chapters examining news reportage of difficult deaths.

This book is the first edited collection to explore Shakespeare's life as depicted on the modern stage and screen. Focusing on the years 1998-2023, it uniquely identifies a 25-year trend for depicting Shakespeare, his family and his social circle in theatre, film and television. Interrogating Shakespeare's afterlife across stage and screen media, the volume explores continuities and changes in the form since the release of Shakespeare in Love, which it positions as the progenitor of recent Shakespearean biofictions in Anglo-American culture. It traces these developments through the 21st century, from pivotal moments such as the Shakespeare 400 celebrations in 2016, up to the quatercentenary of the publication of the First Folio, whose portrait helped make the author a globally recognisable icon. The collection takes account of recent Anglo-American socio-political, cultural and literary concerns including feminism, digital media and the biopic and superhero genres. The wide variety of works discussed range from All is True and Hamnet to Upstart Crow, Bill and even The Lego Movie. Offering insights from actors, dramatists and literary and performance scholars, it considers why artists are drawn to Shakespeare as a character and how theatre and screen media mediate his status as literary genius.

This book considers the cultural meanings of death in American journalism and the role of journalism in interpretations and enactments of public grief, which has returned to an almost Victorian level. A number of researchers have begun to address this growing collective preoccupation with death in modern life; few scholars, however, have studied the central forum for the conveyance and construction of public grief today: news media. News reports about death have a powerful impact and cultural authority because they bring emotional immediacy to matters of fact, telling stories of real people who die in real circumstances and real people who mourn them. Moreover, through news media, a broader audience mourns along with the central characters in those stories, and, in turn, news media cover the extended rituals. Journalism in a Culture of Grief examines this process through a range of types of death and types of news media. It discusses the reporting of horrific events such as September 11 and Hurricane Katrina; it considers the cultural role of obituaries and the instructive work of coverage of teens killed due to their own risky behaviors; and it assesses the role of news media in conducting national, patriotic memorial rituals.

This new study maps and synthesizes existing research on the ways in which journalism deals with death. Folker Hanusch provides a historical overview of death in the news, looks at the conditions of production, content and reception, and also analyzes emerging trends in the representation of death online.

This book investigates death as part of contemporary everyday experience and practices. Through a cultural sociological lens, it studies death as it remains constantly at the edge of our consciousness, shaping the ways in which we move through social reality. As such, Death Matters is a significant contribution to death studies, going beyond traditional parameters of the field by addressing the cultural omnipresence of death. The contributions analyse several death-related meaning-making processes, arguing that meanings emerging from culturally shared narratives, social institutions, and material conditions, are just as important as ’death practices’ in understanding the role of death in society. Drawing on the related themes of places of absence and presence, disease and bodies, and persons and non-persons, the authors explore a variety of areas of social life, from haunting to celebrity deaths, to move the notion of death from the margins of social reality to ongoing everyday life. This far-reaching collection will be of use to scholars and students across death studies, sociology, anthropology, philosophy, culture, media and communication studies.

In Dying in Full Detail Jennifer Malkowski explores digital media's impact on one of documentary film's greatest taboos: the recording of death. Despite technological advances that allow for the easy creation and distribution of death footage, digital media often fail to live up to their promise to reveal the world in greater fidelity. Malkowski analyzes a wide range of death footage, from feature films about the terminally ill (Dying, Silverlake Life, Sick), to surreptitiously recorded suicides (The Bridge), to #BlackLivesMatter YouTube videos and their precursors. Contextualizing these recordings in the long history of attempts to capture the moment of death in American culture, Malkowski shows how digital media are unable to deliver death "in full detail," as its metaphysical truth remains beyond representation. Digital technology's capacity to record death does, however, provide the opportunity to politicize individual deaths through their representation. Exploring the relationships among technology, temporality, and the ethical and aesthetic debates about capturing death on video, Malkowski illuminates the key roles documentary death has played in twenty-first-century visual culture.