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Bettina Kümmerling-Meibauer

This article demonstrates, on the basis of recent research in film studies and media literacy, that filmic paratexts play a significant role in contemporary children's films. It shows that paratexts effectively comment on feature films by, for example, anticipating the film's plot and characters in the opening credits, and by pursuing the film plot in the end titles. Thorough analysis of children's films reveals that paratexts stimulate the child viewer to develop a competency that might be characterized as “meta-filmic awareness”, which is the capacity to distinguish between different levels of plot, communication, or complexity within a film. In keeping with these findings, this article represents an exploration of what we might call a meta-critical approach toward children's films.

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Tehmina Pirzada

accentuating the power evident in Jiya’s appearance is a provocative hip-hop song that is also a part of Burka Avenger ’s opening credits. The lyrics of the song ominously warn her adversaries to be careful. A spirit so quick to deliver a beating To the

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You Haven't Seen the Last of Men

The Full Monty (Peter Cattaneo, 1997)

Julie Michot

of masculinity with these new circumstances. A Symbolic Emasculation The Full Monty seems to start on a positive note: the short 1971 promotional video used for the opening credits highlights the economic success of Sheffield, a city where it

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

Brothers’s Happy Feet (2006) and its sequel (2011), which showcase the contributions of its white voice-over actors in their opening credits but minimize the role of African-American tap dancer Savion Glover, who provides the dancing for the films

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Gary Bettinson

motif. Occasionally it draws our notice, but most often it operates unobtrusively, discreetly shaping the drama through inflection, implication, and motivic accumulation. Lumet tips us off to its importance in the opening credit sequence. Under

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“This Ticking Noise in My Head”

How Sound Design, Dialogue, Event Structure, and Viewer Working Memory Interact in the Comprehension of Touch of Evil (1958)

John P. Hutson, Joseph P. Magliano, Tim J. Smith, and Lester C. Loschky

the film Touch of Evil (1958). Welles argued that the soundtrack would be critical for the scene to work as intended ( Tully 1999 ). After seeing that the studio added a non-diegetic audio track and opening credits for their release, Welles was