notes
Introduction
1 Bazin, “Death Every Afternoon.”
2 Rilke, The Notebooks of Malte Laurids Brigge, 17. This passage came to my attention
through Friedman, Fictional Death and the Modernist Enterprise, 57.
3 Vogel, “The Ultimate Secret,” 263.
4 I will use the term “natural” death to refer to deaths we attribute to disease or age,
but I make this choice between two terms that are both unsatisfying. Is there any-
thing that feels either “natural” or “nonviolent,” for example, about a death in an
intensive care unit that is accompanied by forceful chest compressions, jolts from
defibrillators, and the frenzied atmosphere of a “code” (when a patient’s deteriora-
tion prompts cpr or intubation)?
5 Bazin, “Death Every Afternoon,” 30.
6 Bazin, “Death Every Afternoon,” 31.
7 Bazin, “Death Every Afternoon,” 30.
8 Bazin, “The Ontology of the Photographic Image,” 9.
9 Dyer, White, 104.
10 Bazin, “Death Every Afternoon,” 31.
11 Zelizer, About to Die, 43– 48.
12 Qtd. in Zelizer, About to Die, 301.
13 Manovich, The Language of New Media, 300, 302 (emphasis in original).
14 For influential discussions of digital immateriality (not all of which frame the
digital as simply immaterial), see Mitchell, The Reconfigured Eye; Rosen, “Old and
New”; Hansen, “Between Body and Image”; Doane, “The Indexical and the Con-
cept of Medium Specificity”; Rodowick, The Virtual Life of Film.
15 Editing a digital documentary is, of course, a form of digital manipulation, but here
I am referring to major changes to the mise- en-scène.
16 Gunning, “Moving Away from the Index,” 30– 31.
17 Torchin, “Mediation and Remediation,” 39.
18 Halverson, Ruston, and Trethewey, “Mediated Martyrs of the Arab Spring.”
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