Design Terminable and Interminable
The Possibility of Death in Final Destination
Bibliographic Data
| ID | 21157729 |
|---|---|
| Authors | Eugenie Brinkema (corresponding author) |
| Year | 2015 |
| Volume | 14 |
| Issue | 3 |
| Pages | 298-310 |
| Publication date | 2015-12-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Visual Culture (JOURNAL) |
| Journal identifiers | ISSN: 1470-4129 • E-ISSN: 1741-2994 |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/1470412915607923 |
| OpenAlex | W2337015493 |
| Language | EN |
| References cited | 4 |
The tautological, deterministic, elegantly straightforward premise of James Wong’s Final Destination franchise (2000–2011) supplants horror’s antagonistic monster with the certainty of death – the ineluctability of dying is what ultimately brings about deaths. The givenness of the violence of ontology is routed through formal schemas of design, list, plan, and schematic, and paranoically interpreted in relation to signs auguring the approach of a death that is less figure than function. The films’ staging of ‘death’s design’ formalizes a confrontation between the finitude of beings whose end ultimately arrives and the infinitude of aesthetic possibility, whose end is precisely endlessly deferred
Art · Epistemology · Literature · Monster · Premise · Sociology · Computer Science · Contemporary Literature and Criticism · Gothic Literature and Media Analysis · Nostalgia and Consumer Behavior · Philosophy
| Highly cited | No |
|---|