| 書目名稱 | Endings in the Cinema | | 副標題 | Thresholds, Water an | | 編輯 | Michael Walker | | 視頻video | http://file.papertrans.cn/310/309676/309676.mp4 | | 概述 | develops the understudied area of motifs in the cinema by looking at the way they are deployed in film endings.- in particular through the main example of the beach, shows how films from many differen | | 圖書封面 |  | | 描述 | .This book offers a new way of thinking about film endings. Whereas existing works on the subject concentrate on narrative resolution, this book explores the way film endings blend together a complex of motifs, tropes and other elements to create the sense of an ending-—that is, it looks at ‘endings as endings’. Drawing on a wide range of examples taken from films of different periods and national cinemas, the author identifies three key features which structure the work: thresholds and boundaries, water, and, above all, the beach. The beach combines water and a boundary and is the most resonant of the key sites to which film endings gravitate. Although beach endings go back to at least 1910, they have increased markedly in post-classical cinema, and can be found across all genres and in films from many different countries. As the leading example of the book’s argument, they illustrate both the aesthetic richness and the structural complexity of film endings.??. | | 出版日期 | Book 2020 | | 關(guān)鍵詞 | Film Endings; Motifs; Beaches in Film; Cinematic Thresholds; International Cinema | | 版次 | 1 | | doi | https://doi.org/10.1007/978-3-030-31657-0 | | isbn_softcover | 978-3-030-31659-4 | | isbn_ebook | 978-3-030-31657-0 | | copyright | The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl |
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