Mahlknecht Writing on the Edge

Paratexts in Narrative Cinema
1. Auflage 2016
ISBN: 978-3-8253-7569-0
Verlag: Universitätsverlag Winter
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 3, 180 Seiten, PDF

Reihe: Film and Television Studies

'Writing on the Edge' analyzes texts that surround movies - so-called filmic paratexts. They include opening and closing credits, film posters, and tie-in products such as novelizations. More accessory than an actual part of the film they accompany, paratexts nevertheless serve as an essential framing device that generates expectations and guides audiences through their viewing experience. The book discusses the exchange between the extradiegetic nature of paratexts and the diegesis of the films proper - the space between the producers' attempts to 'advertise a product' and the filmmakers' attempts to 'tell a story'. 'Writing on the Edge' investigates cinema's manifold conventions developed to link these realms. In doing so, the book analyzes a wide range of credit sequences and promotional materials covering all periods of film history.

Autoren/Hrsg.

Mahlknecht, Johannes

Inhaltsverzeichnis

1;Cover
;1
2;Title Page
;4
3;Copyright
;5
4;Table of Contents;6
5;Acknowledgments;8
6;1 Introduction;10
7;2 The Studio Logo;18
7.1;2.1 History and Function of the Logo;19
7.2;2.2 The Majors and the Minors;26
7.3;2.3 Contemporary (Specialty Division) House Style;27
7.4;2.4 Individualized Logo Presentation;30
8;3 The Motto;36
8.1;3.1 Definition and Function;36
8.2;3.2 Paratextual and Textual Qualities of the Motto;41
8.2.1;3.2.1 The Explicit Motto;41
8.2.1.1;3.2.1.1 The Extradiegetic Motto;41
8.2.1.2;3.2.1.2 The Hybrid;42
8.2.1.3;3.2.1.3 The Diegetic Motto;45
8.2.2;3.2.2 The Implicit Motto;47
9;4 The Title;52
9.1;4.1 General Functions of Titles;52
9.1.1;4.1.1 Identifying a Film;53
9.1.2;4.1.2 Designating the Subject Matter;54
9.1.3;4.1.3 Playing Up a Film;56
9.2;4.2 Looks of Titles;58
9.3;4.3 The Title as a (Moving) Picture;60
10;5 Cast of Characters;68
10.1;5.1 Characters/Actors: Names and Faces;68
10.2;5.2 Credits and Self-Referentiality;74
10.3;5.3 In Medias Res: Introductory Intertitles;76
11;6 The End;80
11.1;6.1 “The End” Then and Now;80
11.2;6.2 Transitions and Overlaps;81
11.2.1;6.2.1 Fade to Black vs. Superimposition of End Credits;82
11.2.2;6.2.2 The ‘Diegetic’ Fade to Black;83
11.2.3;6.2.3 Sound and Music;85
11.2.4;6.2.4 The Post-End Credit Scene;86
12;7 Claims and (Legal) Disclaimers;90
12.1;7.1 Origins;92
12.2;7.2 Placement;93
12.3;7.3 Unofficial (Dis)Claimers;95
12.4;7.4 Claimer vs. Disclaimer;97
12.5;7.5 More to Disclaim: Names, Places etc;101
13;8 The Movie Tagline;106
13.1;8.1 Collection of Data;107
13.2;8.2 Definition;108
13.3;8.3 Function;109
13.4;8.4 Presence/Absence of Taglines;111
13.5;8.5 Taglines Then and Now;112
13.6;8.6 Relationship between Tagline and Poster Image;116
13.7;8.7 Relationship between Tagline and Title;118
13.8;8.8 Praise for the Film;119
13.9;8.9 Syntax, Semantics, Rhetoric;121
13.9.1;8.9.1 List and Twist;122
14;9 The Movie Novelization;130
14.1;9.1 The Business of the Cover;133
14.2;9.2 Holes in the Plot;143
15;10 A Look Back: Early Film and Its Fan Magazine Fictionizations;152
15.1;10.1 The Early Fan Magazine;153
15.1.1;10.1.1 The Adventure of the Hasty Elopement;155
15.1.2;10.1.2 From the Submerged;157
15.2;10.2 Pictures from the Pictures;160
16;11 Conclusion;164
17;12 Bibliography;168
17.1;12.1 Primary Sources;168
17.2;12.2 Secondary Sources;172