ABSTRACT This article examines representations of nature and dying in the Swiss documentary Die weisse Arche (2016) through the lens of Jane Bennett’s critique of Max Weber’s concept of disenchantment. I establish a specific relationship between Edwin Beeler’s film and Bennett’s claim that enchantment is foundational to the ethical life, stressing that Die weisse Arche posits an ethics of end-of-life care motivated by moments of enchantment that emanate from the mythical, religious, and local belief systems of the characters Beeler portrays. The film is situated within the recent proliferation of documentaries on dying, marked as they are by a focus upon a single terminal patient and a refusal to film the actual moment of death. Close analysis brings to the fore the film's distinctive poetic style and narrative structure, highlighting in particular how Beeler juxtaposes natural and religious imagery alongside images of dying and care. Drawing upon a methodological framework that brings together philosophy and film studies, this article claims that Die weisse Arche, through its marked absence of medical images in a twenty-first century film about dying, allows us to question the role and place of medicine in contemporary end-of-life care.

中文翻译：

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埃德温·贝勒（Edwin Beeler）的《死于维斯·阿尔切》（Die weisse Arche）中的护理景观和垂死之魅（2016）

摘要本文通过简·贝内特（Jane Bennett）对马克斯·韦伯（Max Weber）幻灭概念的批判，考察了瑞士纪录片《死亡之门》（Die weisse Arche）（2016）中自然与死亡的再现。我在埃德温·贝勒（Edwin Beeler）的电影与贝内特（Bennett）的结盟主张是道德生活的基础之间建立了特定的关系，并强调说迪斯·维斯·阿尔奇（Die weisse Arche）提出了一种生命终结关怀伦理，其动机是由神话，宗教和人物Beeler描绘的地方信仰体系。这部电影位于近期垂死的纪录片中，其着眼点是着眼于一名绝症患者，并拒绝拍摄实际的死亡时刻。仔细的分析使电影的独特诗意风格和叙事结构脱颖而出，特别强调了Beeler如何将自然和宗教图像与垂死和关怀的图像并置。借助结合哲学和电影研究的方法框架，这篇文章声称，戴维斯·阿切（Die weisse Arche）在二十一世纪关于死亡的电影中明显缺乏医学图像，这使我们可以质疑医学在当代中的作用和地位临终关怀。