Beteiligte: | |
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In: | Canadian Journal of Film Studies, 26, 2017, 2, S. 93-116 |
veröffentlicht: |
University of Toronto Press Inc. (UTPress)
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Medientyp: | Artikel, E-Artikel |
Umfang: | 93-116 |
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ISSN: |
0847-5911
2561-424X |
DOI: | 10.3138/cjfs.26.2.2017-0009 |
veröffentlicht in: | Canadian Journal of Film Studies |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | University of Toronto Press Inc. (UTPress) (CrossRef) |
<jats:p> Abstract: This article offers a theoretical approach to the status of opening credits, as a paratextual or metatextual discursive instance, in addition to their relationship to diegetic scenes and their hypotext. The films chosen are all adaptations produced in Quebec since 1990. The growing presence of opening sequences, inserted before the credit sequence, removes the responsibility of the introduction from the extradiegetic sequence. They will be examined through the choices made in terms of transition (readable, audible, or visible) and the relations of the different strata of reality through which the audience evolves. </jats:p> |