Publikation: Projecting the title
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2015
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Published
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Word & Image. 2015, 31(4), pp. 442-449. ISSN 0266-6286. eISSN 1943-2178. Available under: doi: 10.1080/02666286.2015.1053038
Zusammenfassung
Since early cinema, writing has most often been conceived of as distraction, as noise that interrupts the natural flow of images. After the invention of sound it was marginalized in the fiction film, literally. We encounter writing at the beginning and ending of films as paratextual credits. Here, writing is used to differentiate levels of narration. The written paratext functions as a frame for the enclosed story. But the relationship between writing, paratext, and film is never fixed, but always open for debate. This article demonstrates the complexity of this constellation by pointing out how title sequences articulate different conceptions of film. The conflictual relationship between film and writing sheds light on how film has constantly redefined and reinvented itself.
Zusammenfassung in einer weiteren Sprache
Fachgebiet (DDC)
791 öffentliche Darbietungen, Film, Rundfunk
Schlagwörter
paratext, film, film theory, diegetic space
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undefined / . - undefined, undefined
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ZONS, Alexander, 2015. Projecting the title. In: Word & Image. 2015, 31(4), pp. 442-449. ISSN 0266-6286. eISSN 1943-2178. Available under: doi: 10.1080/02666286.2015.1053038BibTex
@article{Zons2015-10-16Proje-44163,
year={2015},
doi={10.1080/02666286.2015.1053038},
title={Projecting the title},
number={4},
volume={31},
issn={0266-6286},
journal={Word & Image},
pages={442--449},
author={Zons, Alexander}
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<dcterms:abstract xml:lang="eng">Since early cinema, writing has most often been conceived of as distraction, as noise that interrupts the natural flow of images. After the invention of sound it was marginalized in the fiction film, literally. We encounter writing at the beginning and ending of films as paratextual credits. Here, writing is used to differentiate levels of narration. The written paratext functions as a frame for the enclosed story. But the relationship between writing, paratext, and film is never fixed, but always open for debate. This article demonstrates the complexity of this constellation by pointing out how title sequences articulate different conceptions of film. The conflictual relationship between film and writing sheds light on how film has constantly redefined and reinvented itself.</dcterms:abstract>
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