標(biāo)題: Titlebook: Endings in the Cinema; Thresholds, Water an Michael Walker Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive licen [打印本頁] 作者: 加冕 時間: 2025-3-21 17:39
書目名稱Endings in the Cinema影響因子(影響力)
書目名稱Endings in the Cinema影響因子(影響力)學(xué)科排名
書目名稱Endings in the Cinema網(wǎng)絡(luò)公開度
書目名稱Endings in the Cinema網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Endings in the Cinema被引頻次
書目名稱Endings in the Cinema被引頻次學(xué)科排名
書目名稱Endings in the Cinema年度引用
書目名稱Endings in the Cinema年度引用學(xué)科排名
書目名稱Endings in the Cinema讀者反饋
書目名稱Endings in the Cinema讀者反饋學(xué)科排名
作者: 歌曲 時間: 2025-3-21 21:26 作者: 否認(rèn) 時間: 2025-3-22 02:08
Reflexive Entwicklung der Organisationin beach endings: death; war; hallucination, breakdown and insanity; the family and childhood; mourning and solitary reflection; home movies (i.e. those featuring beach scenes); fantasy; apocalypse and post-apocalypse; paradise and lost paradise; ceremonies, reunions and farewells.作者: cartilage 時間: 2025-3-22 06:05
Beach Themes and Motifsin beach endings: death; war; hallucination, breakdown and insanity; the family and childhood; mourning and solitary reflection; home movies (i.e. those featuring beach scenes); fantasy; apocalypse and post-apocalypse; paradise and lost paradise; ceremonies, reunions and farewells.作者: 冷峻 時間: 2025-3-22 10:22
https://doi.org/10.1007/978-3-030-31657-0Film Endings; Motifs; Beaches in Film; Cinematic Thresholds; International Cinema作者: ascend 時間: 2025-3-22 13:12 作者: ascend 時間: 2025-3-22 20:01 作者: Inferior 時間: 2025-3-23 01:12
Mitgliedern des Reichsversicherungsamtsit for the final scene. Typically, the restorative aspects of water—as regenerating or therapeutic—are invoked. In this chapter, riverside and lakeside endings are related to the traditional symbolic associations of the sites; endings on water (in ships and boats) and the less common, but by no mean作者: 懸掛 時間: 2025-3-23 05:07 作者: BOGUS 時間: 2025-3-23 08:10
Von der Verteilung der Ressourcen,ain focus of this study. In this introduction, earlier books and articles about the connotations of beaches—both within western culture generally and within international films—are discussed. These works refer in addition both to the Christian religion (e.g. the absence of beaches in the Garden of E作者: Exposition 時間: 2025-3-23 12:00 作者: 痛打 時間: 2025-3-23 15:43 作者: Noctambulant 時間: 2025-3-23 20:32 作者: OTHER 時間: 2025-3-23 23:48 作者: 爭吵 時間: 2025-3-24 06:25 作者: aptitude 時間: 2025-3-24 09:01
978-3-030-31659-4The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: magnanimity 時間: 2025-3-24 11:47 作者: tangle 時間: 2025-3-24 16:05
http://image.papertrans.cn/e/image/309676.jpg作者: Boycott 時間: 2025-3-24 21:38 作者: 陪審團(tuán) 時間: 2025-3-25 01:51
Thresholds and Boundaries(a) the places where endings typically occur, such as doorways, points of departure (railway stations, airports) and watersides and (b) significant times when endings may occur, such as sunset, sunrise, Christmas and the New Year. To illustrate the prevalence and diversity of thresholds and boundari作者: Mangle 時間: 2025-3-25 04:45
Waterit for the final scene. Typically, the restorative aspects of water—as regenerating or therapeutic—are invoked. In this chapter, riverside and lakeside endings are related to the traditional symbolic associations of the sites; endings on water (in ships and boats) and the less common, but by no mean作者: infatuation 時間: 2025-3-25 09:21
Key Ending Tropes and Motifsthe wider resonances of ‘home’ in the US cinema in particular); looking at or addressing the camera; emblematic shots, scenes or objects and theatricality, which includes the use of the tableau. These are part of a repertoire of often rhetorical devices which are regularly found in film endings. Eac作者: 我邪惡 時間: 2025-3-25 15:42
Beaches: Introductionain focus of this study. In this introduction, earlier books and articles about the connotations of beaches—both within western culture generally and within international films—are discussed. These works refer in addition both to the Christian religion (e.g. the absence of beaches in the Garden of E作者: reflection 時間: 2025-3-25 17:55 作者: Fracture 時間: 2025-3-25 20:09
Beaches: Concepts and Developmenteach ending (., Kenji Mizoguchi, Japan; ., Federico Fellini, Italy; ., Richard Quine, USA) and continues into later films. The US beach holiday films, dating from the late 1950s, offer a contrasting cluster of examples. This chapter also explores a key metaphor, the notion of a beach as a ., and con作者: CAMP 時間: 2025-3-26 02:34
Beaches: Auteurist Inflectionse work of other . directors. . (Claude Chabrol, 1971) is examined in relation both to the novel on which it was based and to an earlier Japanese film version of the novel. Four directors whose work is full of beach scenes and beach endings—Federico Fellini, Diane Kurys, Fran?ois Ozon and Takeshi Kit作者: 思考才皺眉 時間: 2025-3-26 07:58 作者: FLACK 時間: 2025-3-26 11:36
Conclusion many different countries and across all the genres. At the same time, the vast majority of beach endings use the site inventively. For example, few such endings do no more than establish the formation of the romantic couple—something else is nearly always going on. The summarising example is from .作者: aggrieve 時間: 2025-3-26 14:35
Introduction,ct of film endings. In effect, the book focuses on ‘endings as endings’, that is the corpus of elements which are regularly found in the closing scenes or moments of a film. The notion of an ‘ending sequence’, that is, an ending which is extended through several distinct scenes, is also introduced.作者: GEON 時間: 2025-3-26 20:10 作者: SYN 時間: 2025-3-26 23:16
Beaches: Introductionden) and to paintings. The criteria for the inclusion of films in the appendix of beach endings are explained, and 1954 identified as the key year for the emergence of the cinematic beach ending. Two ending tropes—sunsets and the voice-over—are discussed further in relation to beach endings.作者: glacial 時間: 2025-3-27 04:43 作者: membrane 時間: 2025-3-27 06:36
Beaches: Auteurist Inflectionsano—are looked at in detail, in each case relating the beach scenes to wider auteurist aspects of the director’s work. Two of the Kitano examples are related to Peter Brooks’ model for narrative as the ‘pulsation’ of the death instinct.作者: 加劇 時間: 2025-3-27 13:20
Conclusion (Gilles Paquet-Brenner, 2011), the ending of which is also contrasted with that of the novel on which it was based. The chapter concludes by suggesting that opening up the study of film endings could be analogous to the study of film genres, giving further insight into how films work.作者: Inflated 時間: 2025-3-27 15:30 作者: 同步左右 時間: 2025-3-27 20:48 作者: 思考才皺眉 時間: 2025-3-28 01:51
Waterr craft. Endings in the snow are also considered: their bleakness contrasts with the typically revitalising or romantic aspects of endings in the rain. With endings featuring ship or boat departures, the notion of a ‘tear’ between land and water is suggested.作者: resistant 時間: 2025-3-28 02:15
Key Ending Tropes and Motifslity, which includes the use of the tableau. These are part of a repertoire of often rhetorical devices which are regularly found in film endings. Each trope/motif is explored through the examination of a range of examples.作者: 浪費(fèi)物質(zhì) 時間: 2025-3-28 10:20
Beaches: Early History of the novel on which the film is based. In the 1930s, examples of beach endings are all from Japan or France, a reflection of the lack of location filming in Hollywood films of the era. With World War 2 films with beach endings, the propaganda function of a film made during wartime is related to the structure of the endings.作者: ARY 時間: 2025-3-28 12:00
https://doi.org/10.1007/978-3-030-82375-7ct of film endings. In effect, the book focuses on ‘endings as endings’, that is the corpus of elements which are regularly found in the closing scenes or moments of a film. The notion of an ‘ending sequence’, that is, an ending which is extended through several distinct scenes, is also introduced.作者: 鬼魂 時間: 2025-3-28 18:17
Mitgliedern des Reichsversicherungsamtses, the endings of six of the first seven films voted in the 2012 . poll as ‘the greatest films ever made’ are examined. Other liminal sites frequently found in film endings—e.g. bridges, frontiers, hospitals and gravesides—are summarised. Finally, a selection of station endings from different periods and countries are looked at in more detail.作者: Merited 時間: 2025-3-28 19:30
Von der Verteilung der Ressourcen,den) and to paintings. The criteria for the inclusion of films in the appendix of beach endings are explained, and 1954 identified as the key year for the emergence of the cinematic beach ending. Two ending tropes—sunsets and the voice-over—are discussed further in relation to beach endings.作者: erythema 時間: 2025-3-29 02:55 作者: fulmination 時間: 2025-3-29 04:58 作者: 積云 時間: 2025-3-29 10:12 作者: conscribe 時間: 2025-3-29 15:09 作者: CYT 時間: 2025-3-29 17:41
Mitgliedern des Reichsversicherungsamtslity, which includes the use of the tableau. These are part of a repertoire of often rhetorical devices which are regularly found in film endings. Each trope/motif is explored through the examination of a range of examples.
