index
Page numbers followed by f indicate material in figures or photographs.
Aaron, Michele, 124, 135
About to Die (Zelizer), 210n4
“about to die” images, 128, 175, 210n4
“accidental gaze,” 19, 173
Accused/ Blowtorch/Padlock (Williams), 37
“active dying,” 104
activist use of documentary death, 202; in
1970s and 1980s, 72, 95; in Agha- Soltan
and Oscar Grant videos, 165, 170–75, 177,
180–81, 194–95, 198; during aids crisis,
94–95; Alton Sterling video, 192–93; in
Arab Spring, 10, 174, 225n12; by Black Lives
Matter, 175, 196, 225n12; contextualization
issues in, 190, 193–95, 197; for Golden Gate
Bridge suicide barrier, 148–49; “I am ___”
“We are all ___” template, 185–89; “Kony
2012,” 183; lending respectability, 148;
nationally and internationally, 10; produc-
tion, distribution, exhibition decisions in,
157–59; requiring graphically visible death,
10; Saigon Execution, 157. See also Agha-
Soltan (Neda) death video; Grant (Oscar)
videos; YouTube
actuality footage: in Berlin (Ruttmann), 110;
distortions of during playback, 193–94; early
attempts and faking of, 48–51 (50f), 181; in
early cinema, 43; electrocution films, 45–46,
61, 63, 212n47; execution films, 43–46, 63,
71, 212–13n49, 213n51; instant replay in, 56,
214n78; lack of in Cambodia, 9–10; Saddam
execution, 63; from unpublished archives,
63, 215–16n98; value of, 10. See also death
porn; lynching photographs; YouTube;
Zapruder film
Adams, Eddie, 58–62 (59f), 157, 215n96
Advance of Kansas Volunteers at Caloocan (Edi-
son), 47–48
aesthetics on YouTube, 177–83
African Americans, 175; Annie (in Imitation of
Life), 67–70 (69f), 73–74, 82, 85, 184; death
rates for, 80, 218n36; portrayals of “good”
deaths for, 82; Rodney King, 176, 181, 193–
96. See also Grant (Oscar) videos; lynching
photographs
afterlife, death as passage to, 11, 30, 34, 64
Agamben, Giorgio, 104, 220n81
age of beautiful death, 30–31, 33, 35, 74
Agha- Soltan (Neda) death video, 167–82 (168f,
169f); audio track to, 183; compared to
dying male protestors, 228n43; cultural cues
for Iranian viewers in, 179–80; effects of,
175; and “I am Neda” declarations, 188–89;
illusion of eye contact in, 167, 168f, 184, 191;
as “immediately powerful performance,”
181; impossibility of censoring, 172–73;
intentionality of, 173; international viewer-
ship of, 175, 176; Iranian access to, 167–70;
and Islamic martyrdom, 190–91; “moment
of death” in, 184; multiple camera angles,
167, 178; Neda as global icon, 176–77, 185;
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