LEADER 03687nam 22004695 450 001 9910484871003321 005 20200705130929.0 010 $a3-030-31657-2 024 7 $a10.1007/978-3-030-31657-0 035 $a(CKB)4100000010661102 035 $a(MiAaPQ)EBC6133980 035 $a(DE-He213)978-3-030-31657-0 035 $a(EXLCZ)994100000010661102 100 $a20200313d2020 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aEndings in the Cinema $eThresholds, Water and the Beach /$fby Michael Walker 205 $a1st ed. 2020. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2020. 215 $a1 online resource (321 pages) 311 $a3-030-31656-4 327 $aIntroduction -- THRESHOLDS AND BOUNDARIES -- Stations -- i. The station as stage -- ii. Lovers? separations -- iii. World War 2 -- Wartime homecoming -- iv. Stations and death -- WATER -- i. The waterside -- Ship and boat departure -- ii. On water -- iii. In and under water -- KEY ENDING TROPES AND MOTIFS -- i. Sunsets -- ii. Voice-overs -- iii. ?Let?s go home? -- iv. Looking at or addressing the camera -- v. Emblematic shots -- vi. Theatricality -- BEACHES -- Introduction -- Early History -- i. Silent Cinema -- ii. The 1930s -- iii. World War 2 -- Concepts and development -- i. The Woman on the Beach -- 1954 and after -- ii. Beach holidays -- iii. Tabula rasa -- iv. Empty beach -- v. Renewal -- Auteurist inflections -- i. La nouvelle vague and after -- ii. Beach auteurs: Fellini, Kurys, Ozon, Kitano -- Themes and motifs -- i. Death -- Dying -- Suicides -- ii. War -- iii. Hallucination, breakdown and insanity -- iv. The family and childhood -- v. Mourning and solitary reflection -- vi. Home movies -- vii. Fantasy -- viii. Apocalypse and post-apocalypse -- ix. Paradise and lost paradise -- x. Other categories and Conclusion -- Appendix: Films with beach endings -- Bibliography. 330 $aThis 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. . 606 $aMotion pictures 606 $aFilm Theory$3https://scigraph.springernature.com/ontologies/product-market-codes/413090 606 $aClose Reading$3https://scigraph.springernature.com/ontologies/product-market-codes/413250 615 0$aMotion pictures. 615 14$aFilm Theory. 615 24$aClose Reading. 676 $a791.4309 676 $a791.4301 700 $aWalker$b Michael$4aut$4http://id.loc.gov/vocabulary/relators/aut$0800843 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910484871003321 996 $aEndings in the Cinema$91965958 997 $aUNINA