About Kubler-Ross

The Extraordinarily Intimate and Amazing Video Confronting Death

The extraordinarily intimate and amazing video Confronting Death was made in 2002, when one Kübler-Ross, a dedicated researcher of mortality, was facing this very serious transition on her death bed. To a large measure, the film is based on Kübler-personal Ross’s talks while she was in Arizona. It’s fascinating to see Kübler-Ross reflect on her history, recalling childhood memories and how she used to think about mankind, her job, and the possibility of death (Flood 149). Kübler-Ross is portrayed as an extraordinary woman, whose social skills and personality towers high above her contemporaries, especially when interviewed by her colleagues, sisters, the close friends and the archival data presented to offer a distinctive and detailed view of this renowned character.

Kübler-Ross’s Dedication to Death and Dying

Throughout her life, Kübler-Ross had a special dedication for the course of death, and the dying she so achieves proclaims her a special reputation the world over. Indeed, the film is a very instrumental asset for not only the medical professionals but also the terminally ill patients, especially those under palliative care. It is critical to note that before patients die, they undergo a lot of emotional, psychological, ad mental distress which significantly affects both the physiological and anatomical response to medical interventions (Yahnke 426). Therefore, a specialized and patient specific tailored nature of care is essential to better the prognosis. Nevertheless, clinical attends as well should have a clear understanding of the process of death, whereby they ought to have a attained resistance against fear, anxiety, and stigma about their death, so as to be of help to their patients. The film culminates to the peak of such a solemn transition when Kübler-Ross is in the desert, and her death looms amidst her deeply engaged mind on research pertinent to the process of mortality.

The Climax of the Film and Kübler-Ross’s Impending Transition

The climax of the film is incepted by the audience following the anxiety of how well and better the master who studied extensively about the course of death meets her demise in the film. The several strokes she had suffered earlier own compromised her health significantly and Kübler-Ross was ailing at her ranch in Arizona, where she would die in 2004 on the 2 of August (Flood 151). The drama in the film is both confounding and irritably arouses controversial questions, considering how the scenes move from around the rest of the world where Kübler-Ross spurred her influence and then back to her sick bed, to incessantly unfold more about her inevitable and critically impending transition. The personality of her audience is left in the dark though, when the director of the film, one Stefan Haupt asks that her viewers contemplate upon their death, as she answers her feelings on her final exceed journey of mortality.

The Emotional and Psychological Distress Surrounding Kübler-Ross’s Death

There is emotional and psychological distress that feels the atmosphere, as is characterized by the desert sky, the setting sun amidst the cool music that willows away her last moments. Indeed, when she contemplates about her past and sighs with relief that is was an outstanding lifetime after it all, there is a perception of despair and bitterness, characterized by the sadness and the frustration of her approaching end. The car that drives on the adjacent high was along Kübler-Ross` ranch sets a suitable environment to pause intriguing questions of who she was, what triggered her interest in the suffering of humanity as well as the subject of mortality as an eventuality of human life on earth. Indeed, the film sets a platform for humanity to recognize that those who face death experience a mix of anger, denial, depression and bargaining, elements which are evidently palpable across the scenes (Yahnke 426). Nevertheless, if well attended to, the terminally ill patients could face death in peace following the precedent adjustment, a factor that sets pathos and literary rhythm as a core in the film.

Works Cited

Flood, Karen E. “Elisabeth Kubler-Ross: Facing Death (review).” Bulletin of the History of Medicine, vol. 80, no. 1, 2006, pp. 149-151.

Yahnke, R. E. “Elisabeth Kubler-Ross: Facing Death.” The Gerontologist, vol. 45, no. 3, 2005, pp. 426-426.