Zusätzliche Informationen
Bibliografische Daten
Abstract
‘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.
Inhaltsverzeichnis
| Zwischenüberschrift | Seite | Aktion | Preis |
|---|---|---|---|
| Cover | C | ||
| Title Page | 3 | ||
| Copyright | 4 | ||
| Table of Contents | 5 | ||
| Acknowledgments | 7 | ||
| 1 Introduction | 9 | ||
| 2 The Studio Logo | 17 | ||
| 2.1 History and Function of the Logo | 18 | ||
| 2.2 The Majors and the Minors | 25 | ||
| 2.3 Contemporary (Specialty Division) House Style | 26 | ||
| 2.4 Individualized Logo Presentation | 29 | ||
| 3 The Motto | 35 | ||
| 3.1 Definition and Function | 35 | ||
| 3.2 Paratextual and Textual Qualities of the Motto | 40 | ||
| 3.2.1 The Explicit Motto | 40 | ||
| 3.2.1.1 The Extradiegetic Motto | 40 | ||
| 3.2.1.2 The Hybrid | 41 | ||
| 3.2.1.3 The Diegetic Motto | 44 | ||
| 3.2.2 The Implicit Motto | 46 | ||
| 4 The Title | 51 | ||
| 4.1 General Functions of Titles | 51 | ||
| 4.1.1 Identifying a Film | 52 | ||
| 4.1.2 Designating the Subject Matter | 53 | ||
| 4.1.3 Playing Up a Film | 55 | ||
| 4.2 Looks of Titles | 57 | ||
| 4.3 The Title as a (Moving) Picture | 59 | ||
| 5 Cast of Characters | 67 | ||
| 5.1 Characters/Actors: Names and Faces | 67 | ||
| 5.2 Credits and Self-Referentiality | 73 | ||
| 5.3 In Medias Res: Introductory Intertitles | 75 | ||
| 6 The End | 79 | ||
| 6.1 “The End” Then and Now | 79 | ||
| 6.2 Transitions and Overlaps | 80 | ||
| 6.2.1 Fade to Black vs. Superimposition of End Credits | 81 | ||
| 6.2.2 The ‘Diegetic’ Fade to Black | 82 | ||
| 6.2.3 Sound and Music | 84 | ||
| 6.2.4 The Post-End Credit Scene | 85 | ||
| 7 Claims and (Legal) Disclaimers | 89 | ||
| 7.1 Origins | 91 | ||
| 7.2 Placement | 92 | ||
| 7.3 Unofficial (Dis)Claimers | 94 | ||
| 7.4 Claimer vs. Disclaimer | 96 | ||
| 7.5 More to Disclaim: Names, Places etc | 100 | ||
| 8 The Movie Tagline | 105 | ||
| 8.1 Collection of Data | 106 | ||
| 8.2 Definition | 107 | ||
| 8.3 Function | 108 | ||
| 8.4 Presence/Absence of Taglines | 110 | ||
| 8.5 Taglines Then and Now | 111 | ||
| 8.6 Relationship between Tagline and Poster Image | 115 | ||
| 8.7 Relationship between Tagline and Title | 117 | ||
| 8.8 Praise for the Film | 118 | ||
| 8.9 Syntax, Semantics, Rhetoric | 120 | ||
| 8.9.1 List and Twist | 121 | ||
| 9 The Movie Novelization | 129 | ||
| 9.1 The Business of the Cover | 132 | ||
| 9.2 Holes in the Plot | 142 | ||
| 10 A Look Back: Early Film and Its Fan Magazine Fictionizations | 151 | ||
| 10.1 The Early Fan Magazine | 152 | ||
| 10.1.1 The Adventure of the Hasty Elopement | 154 | ||
| 10.1.2 From the Submerged | 156 | ||
| 10.2 Pictures from the Pictures | 159 | ||
| 11 Conclusion | 163 | ||
| 12 Bibliography | 167 | ||
| 12.1 Primary Sources | 167 | ||
| 12.2 Secondary Sources | 171 |
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