Thanatology from a cinematographic point of view. Death of a Salesman (1985) and L'Amour à mort (1984)
| dc.contributor.author | Carla Paola Aparicio Barrenechea | |
| dc.coverage.spatial | Bolivia | |
| dc.date.accessioned | 2026-03-22T19:05:50Z | |
| dc.date.available | 2026-03-22T19:05:50Z | |
| dc.date.issued | 2008 | |
| dc.description.abstract | <span style="font-size: 11pt; font-family: Garamond,serif">It is easy to check the knowledge and advances that thanatology has contributed to society. The cinema, as an art form focused on human beings, provides its own analysis of death. The present article explores human responses to situations deriving from end-of-life issues, the loss of loved ones, types of death, individual-family grieving and other aspects in two representative films: <em> Death of a Salesman</em> (1985) by Wolker Schlöndoff and <em>L’Amour á mort</em> (1984) by Michel Choquet.</span> | |
| dc.identifier.uri | https://doaj.org/article/f185530400dc4f85baaf20cdbb21afa2 | |
| dc.identifier.uri | https://andeanlibrary.org/handle/123456789/74033 | |
| dc.language.iso | en | |
| dc.relation.ispartof | SHILAP Revista de lepidopterología | |
| dc.source | Universidad Salesiana de Bolivia | |
| dc.subject | Thanatology | |
| dc.subject | Point (geometry) | |
| dc.subject | Psychoanalysis | |
| dc.subject | Psychology | |
| dc.title | Thanatology from a cinematographic point of view. Death of a Salesman (1985) and L'Amour à mort (1984) | |
| dc.type | article |