Titlebook: Endings in the Cinema; Thresholds, Water an Michael Walker Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive licen

SYN

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.

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membrane

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.

加劇

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.

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同步左右

思考才皺眉

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.

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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.

浪費物質(zhì)

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.

ARY

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.