Danse Macabre im Kino. Die Figur des personifizierten Todes als filmische Allegorie
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Tritt der Tod als Akteur im Kino auf, zeigt er sich erstaunlich facettenreich: von müde bis schlitzohrig, von sanft bis brutal. Auffallend ist jedoch die ikonographische Treue der Figur zu ihrer kunsthistorischen Tradition mit Kutte, Kutsche und Sense. Der Tod im Kino ist also gleichsam immer auch eine Allegorie. Doch wie genau ist diese filmische Figur konzipiert? Wie erreicht das Kino die Momente der Unmittelbarkeit, die es für die Empathie mit dem Tod braucht? Evelyn Echle präsentiert drei exemplarische Fallstudien zu ausgewählten Filmen aus unterschiedlichen filmgeschichtlichen Perioden und Diskursen. Neben den Stummfilm-Klassikern DER MÜDE TOD (Deutschland 1921) und KÖRKARLEN - FUHRMANN DES TODES (Schweden 1921) analysiert sie mit Ingmar Bergmans Film DAS SIEBENTE SIEGEL (Schweden 1956) drei kanonisierte Tode der Filmgeschichte und zeigt so eine Fülle von historischen, kulturellen und medialen Kontexten auf. Gleichzeitig werden wichtige theoretische Grundlagen zur Allegorie und filmischen Figur geklärt sowie die präfilmische Geschichte des Schnitters in persona, insbesondere des Totentanzes, beleuchtet.
Evelyn, Echle: - Evelyn Echle studierte Filmwissenschaft, Germanistik und Pädagogik in Bochum und Zürich. Sie lehrt und forscht an der Hochschule für Film und Fernsehen in Potsdam-Babelsberg zu ihrer Dissertation über Raum- und Ornamentstrukturen im deutschen Stummfilm. Seit 2007 ist sie Redakteurin der medienwissenschaftlichen Fachzeitschrift Montage AV.
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