ABSTRACT
Film represents a ‘possible world’ that cannot be assumed to reflect the reality outside the story-world without mediation. The integration of film into gerontological research therefore requires scholars who master a vocabulary with which to analyze cinematic form and style (mise-en-scène, cinematography, montage, etc.), have knowledge of film history and recognize the ideological dimensions of film so as to engage in critical readings of case studies. So far, the most extensive studies of ageing in film are Visions of Aging (Cohen-Shalev 2012), The Silvering Screen (Chivers 2011) and The Becoming of Age (Gravagne 2013). Anthologies such as Staging Age (Lipscomb and Marshall 2010) and Aging, Performance, and Stardom (Swinnen and Stotesbury 2012) include several essays on the topic. Overviews such as Yahnke (2010), though they do not offer critical analyses of ageing in film, indicate possible case studies.
