This article analyzes the 2012 found-footage buddy-cop film End of Watch. The author analyzes the film’s production, plot, para-textual materials, audience reviews, and audience-generated media to examine the film’s rhetorical strategies and cultural impact. The author shows how police media work inspired the film’s creation, influenced the film’s production, and shaped the film’s messages. End of Watch is a crucial test case for understanding how police collaborate with the entertainment industry to respond to public crises of police visuality. Police media labor shaped the creation, production, and performances of the film, helping create a media product branded simultaneously as a realistic look at police life and a positive correction to negative media representations of police officers. End of Watch breathes cinematic life into commonplace hegemonic tropes of police backlash rhetoric. This article argues that End of Watch uses surveillant narration to humanize police and dehumanize the subjects of police violence. It also demonstrates how End of Watch served as a source of rhetorical invention for pro-police publics who drew on images and tropes from the film to defend police in the face of the crises of police visibility that emerged in the years following the film’s release.

本文分析了 2012 年发现的镜头伙伴警察电影End of Watch。作者分析了电影的制作、情节、副文本材料、观众评论和观众生成的媒体，以检验电影的修辞策略和文化影响。作者展示了警察媒体的工作如何激发了电影的创作，影响了电影的制作，并塑造了电影的信息。观看结束是了解警察如何与娱乐业合作以应对警察视觉公共危机的关键测试案例。警察媒体的劳动塑造了这部电影的创作、制作和表演，帮助创造了一种媒体产品，同时作为对警察生活的现实看法和对警察负面媒体报道的积极纠正。End of Watch将电影生活注入了警察强烈反对言论的常见霸权比喻中。本文认为，《守望先锋》使用监视叙述来使警察人性化，并使警察暴力的主体非人化。它还演示了如何结束观看 为支持警察的公众创造了修辞手段，他们利用电影中的图像和比喻在电影上映后几年出现的警察能见度危机时为警察辩护。