This article intends to discuss the relationships between the study of the frame as a dispositif in the visual arts and the study of the frame as a paratext in literary forms, with the purpose of elaborating an original methodological framework to be applied to title sequences in contemporary tv series. More specifically, the article focuses on Stranger Things (Netflix, 2016) as a paradigmatic case study to discuss how title sequences operate between linear and non-linear television, the relationships between intros and complex tv, and the renewed role of branding (both content and communities) which opening sequences assume in the scenario of on-demand television.
Chi ha bisogno della cornice? Sul ruolo dei titoli di testa nella streaming tv
RE V.
2019-01-01
Abstract
This article intends to discuss the relationships between the study of the frame as a dispositif in the visual arts and the study of the frame as a paratext in literary forms, with the purpose of elaborating an original methodological framework to be applied to title sequences in contemporary tv series. More specifically, the article focuses on Stranger Things (Netflix, 2016) as a paradigmatic case study to discuss how title sequences operate between linear and non-linear television, the relationships between intros and complex tv, and the renewed role of branding (both content and communities) which opening sequences assume in the scenario of on-demand television.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
