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(Not) The End : From Death to Life in East Asian Films
The most common cinematic representation of the end of human lives is physical death, whether natural or otherwise. This article, however, moves away from the dominant notion of "death as cessation" and explores the religious sensibilities attached to the depiction of death in the mainland Chinese film Getting Home (Zhang Yang, 2008) and the Tibetan Buddhist film Balloon (Pema Tseden, 2019). In contrast to the western concept of "rest in peace," with alludes to the soul finding peace in eternal heaven, death in Getting Home shows the cultural notion of returning to one's birthplace, whereas in Balloon, death is a means to rebirth.
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