Abstract: In 1955, Ruth Ellis became the last woman hanged in Britain. A 2003 appeal, which sought to revise her murder conviction to manslaughter, was dismissed on the grounds that “battered woman syndrome” was unknown at the time of her trial. In representing her hanging in slow motion, with an exchange of POV shots between Ellis and her executioner, Pierrepoint (2005) visualizes facets of Ellis’s contested legacy: the continued refusal to recognize the suffering of women caused by abusive men and the extent to which Ellis’s conviction was shaped by prevailing cultural stereotypes which identified her as degenerate on the grounds of her appearance and lifestyle. Pierrepoint recreates Ellis’s death but suggests her legacy remains “alive,” an ongoing injustice yet to be remedied.

中文翻译：

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“那段情感时刻”：露丝·埃利斯在皮埃尔波因特（Pierrepoint）的处决（2005年）

摘要：1955年，露丝·埃利斯（Ruth Ellis）成为英国最后一名绞死的妇女。2003年的一项上诉试图将其对谋杀的罪名改判为过失杀人罪，但由于在审判时还不知道“受虐妇女综合症”，因此驳回了上诉。皮埃尔波因特（Pierrepoint（2005））代表埃里斯与execution子手之间交换POV镜头以慢动作挥舞时，形象地反映了埃里斯备受争议的遗产：继续拒绝承认虐待男人造成的妇女苦难以及埃利斯的受虐程度。普遍的文化刻板印象使人们深信不疑，基于她的外表和生活方式，她被认为是堕落的。皮埃尔波因特（Pierrepoint）重现埃利斯（Ellis）的去世，但暗示她的遗产仍然“活着”，这是一种持续不断的不公正现象，尚待纠正。