The End: Narration and Closure in the Cinema
Wayne State University Press, 1995 - 213 من الصفحات
Given the importance that spectators grant to the final moments of a motion picture, it is surprising to find so little written on how films end and how audiences interpret those closing moments. This study investigates endings in film and the lively role they play in how and why viewers make sense of movies. Relying upon contemporary literary criticism and film theory, the author analyses narrative strategies in films ranging from the classical Hollywood motion picture to the more modern European art cinema. To assist readers in understanding the various functions of endings, the films are divided into four critical categories: the "Closed Text" film, typical of classical works; the "Open Story" films; the "Open Discourse" film; and the "Open Text" film which struggles to defy story resolution. Detailed textual analysis of sample films reveal how all of the devices of filmic narration - from "mise-en-scene" to soundtracks - direct a viewer's perception, comprehension and interpretation of closure in films. Among the sample films that are featured as test cases for studying endings are "The Quiet Man" (Ford, 1950), "The 400 Blows" (Truffaut, 1959), "Weekend" (Godard, 1967), "Tout va bien" (Godard, 1972), and "Earth" (Dovzhenko, 1930). To round out his informative study of endings in films, Neupert also examines a host of diverse titles, including "Do the Right Thing" (Lee, 1989), "Open City" (Rossellini, 1945) and "The Graduate" (Nichols, 1967).
ما يقوله الناس - كتابة مراجعة
لم نعثر على أي مراجعات في الأماكن المعتادة.
THE Closed TEXT FILM
THE OPEN STORY FILM
THE OPEN Text FILM
The Unresolved Story and Weekend
Point of View and Intertextual Reference
Segmentation for The Quiet Man
action codes Antoine Antoine Doinel Antoine's audience begins Blows Bonnes femmes camera characters cinema classical Hollywood cinema Closed Text film closure device complete conclusion construction continue conventional Corinne's Danaher David Bordwell dialogical diegesis diegetic Doinel epilogue Fade Father Lonergan fictional fight film ends film's filmic final scene François Truffaut functions genres Gérard Genette Godard happy ending Hollywood images Innisfree interpreted intertitles Jean-Luc Godard Kalfon Les Bonnes femmes Mary Kate Michaleen narrative discourse narrative strategies narrative voice neorealist Open Discourse film Open Story film Open Text films paratactic Paris Peter Brooks Playfair plot point of view primary narrator production Quiet René resolved story Roland and Corinne Sean and Mary Sean Thornton Sean's segment sequence soundtrack spectator spectator's story elements story events story resolution story's structure telling termination point text's textual theme Tillane Tout va bien Truffaut's Tzvetan Todorov unified Univ Vasyl viewer voice-over Weekend writes