Popular culture has reimagined death as entertainment and monsters as heroes, reflecting a profound contempt for the human race

Portrayals of death and the dead are everywhere within popular culture revealing much about contemporary society’s engagement with mortality. Drawing upon celebrity posthumous careers, organ transplantation mythology and the fictional dead, this book considers how representations of the dead in popular culture exert powerful agency.

With intense and violent portrayals of death becoming ever more common on television and in cinema and the growth of death-centric movies, series, texts, songs, and video clips attracting a wide and enthusiastic global reception, we might well ask whether death has ceased to be a taboo. What makes thanatic themes so desirable in popular culture? Do representations of the macabre and gore perpetuate or sublimate violent desires? Has contemporary popular culture removed our unease with death? Can social media help us cope with our mortality, or can music and art present death as an aesthetic phenomenon? This volume adopts an interdisciplinary approach to the discussion of the social, cultural, aesthetic, and theoretical aspects of the ways in which popular culture understands, represents, and manages death, bringing together contributions from around the world focused on television, cinema, popular literature, social media and the internet, art, music, and advertising.

What role do man-eating monsters - vampires, zombies, werewolves and cannibals - play in contemporary culture? This book explores the question of whether recent representations of humans as food in popular culture characterizes a unique moment in Western cultural history and suggests a new set of attitudes toward people, monsters, and death.

Laughter, contemporary theory suggests, is often aggressive in some manner and may be prompted by a sudden perception of incongruity combined with memories of past emotional experience. Given this importance of the past to our recognition of the comic, it follows that some "traditions" dispose us to ludic responses. The studies in Of Corpse: Death and Humor in Folklore and Popular Culture examine specific interactions of text (jokes, poetry, epitaphs, iconography, film drama) and social context (wakes, festivals, disasters) that shape and generate laughter. Uniquely, however, the essays here peruse a remarkable paradox---the convergence of death and humor.

This interdisciplinary collection brings together world leaders in Gothic Studies, offering dynamic new readings on popular Gothic cultural productions from the last decade. Topics covered include, but are not limited to: contemporary High Street Goth/ic fashion, Gothic performance and art festivals, Gothic popular fiction from Twilight to Shadow of the Wind, Goth/ic popular music, Goth/ic on TV and film, new trends like Steampunk, well-known icons Batman and Lady Gaga, and theorizations of popular Gothic monsters (from zombies and vampires to werewolves and ghosts) in an age of terror/ism.

This book presents a sociological challenge to the long-held assumption that dying alone is a bad way to die and that for a death to be a good one the dying person should be accompanied. This assumption is represented in the deathbed scene, where the dying person is supported by religious or medical professionals, and accompanied by family and friends. This is a familiar scene to consumers of culture and is depicted in many texts including news media, fiction, television, drama and documentaries. The cultural script underpinning this assumption is examined, drawing on empirical data and published literature. Clarification is offered about what is meant when someone is said to die alone: are they alone at the precise moment of their death, or is it during the period before that? Questions are asked about whose interests are best served by the accompaniment of dying people, whether dying alone means dying lonely and whether, for some individuals, dying alone can be a choice and offer a good death? This book is suitable for scholars and students in the field of dying and death, as well as practitioners who work with dying people, some of whom may wish to be alone.

The Supreme Court has looked to «evolving standards of decency» in determining whether the death penalty violates the Eighth Amendment to the Constitution, which prohibits cruel and unusual punishment. Evolving Standards of Decency examines the ways in which popular culture portrays the death penalty. By analyzing literature and film, Atwell argues that capital punishment becomes much more complex when both offenders and victims are presented as fully developed individuals. Numerous books and films from the last several decades expose flaws in the criminal justice system and provide audiences with stories that raise questions about race, class, and actual innocence in the administration of the ultimate punishment. Although most people will not read legal briefs supporting or challenging the death penalty, many will see films or read novels that raise issues about its fairness. Themes and images gathered through popular culture may ultimately influence whether Americans continue to believe that capital punishment conforms to their evolving standards of decency and justice. Those studying justice issues, corrections, or capital punishment will find this an accessible and provocative work that places the stories read in novels or seen in movies in the context of the legal system that has the power of life and death.

This book explores death in contemporary society – or more precisely, in the ‘spectacular age’ – by moving beyond classic studies of death that emphasised the importance of the death taboo and death denial to examine how we now ‘do’ death. Unfolding the notion of ‘spectacular death’ as characteristic of our modern approach to death and dying, it considers the new mediation or mediatisation of death and dying; the commercialisation of death as a ‘marketable commodity’ used to sell products, advance artistic expression or provoke curiosity; the re-ritualisation of death and the growth of new ways of finding meaning through commemorating the dead; the revolution of palliative care; and the specialisation surrounding death, particularly in relation to scholarship. Presenting a range of case studies that shed light on this new understanding of death in contemporary culture, The Age of Spectacular Death will appeal to scholars of sociology, cultural and media studies, psychology and anthropology with interests in death and dying.

Our world and our churches are neither sinful nor lost, they are dead. This dead world is the one that God engages and into which Jesus invaded with a radically different vision of life. In this groundbreaking work, based on his 211 Yale Beecher lectures, Brian K. Blount helps preachers effectively proclaim resurrection in a world consumed by death. Recognizing that both popular culture and popular Christianity are mesmerized by death and dying, Blount offers an alternative apocalyptic vision for our time--one that starts with a clear vision of life that obliterates death and reveals life's essence. Blount explores the portrait and meaning of resurrection through the New Testament (the Book of Revelation, the letters of Paul, and the Gospel of Mark) and explores how to biblically and theologically reconfigure apocalyptic preaching for today. With three illustrative sermons, this book is an ideal resource to help preachers proclaim the power of resurrection.