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

Mangle

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

infatuation

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

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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

reflection

Fracture

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

CAMP

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, François Ozon and Takeshi Kit

思考才皱眉

FLACK

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 .

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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.

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