Tittle sequences as short short stories: vikings and fractals
DOI:
https://doi.org/10.24310/Eviternare.vi11.14072Keywords:
Cinema, Short short film, serie, title sequence, VikingsAbstract
The aim of this paper is to propose an approach to title sequence or opening sequence as short audiovisual stories based on the concept of fractal. The consideration of the narrative dimension of the title sequences and their study as narrative pieces themshelves comes from the theoretical and methodological advances that have taken place in the field of the short short stories in the last years, due to the fact that their compositional coordinates and reception processes are also recognizable in the audiovisual mini-fiction. Beyond its artistic approach, these paratexts can be considered a short short story that are projected in a large narration. The relationship between both discourses becomes dialogical thanks to the decoding strategies that the viewer deploys during the reception. In some cases, these strategies are determined by the relationship of the filmic narrative discourse and a historical episode that influences reception in phenomenological terms. To show this hypothesis, firstly, it will be delimited what is an audiovisual short short story, what are their characteristics and how it works in relation with the principal narration. Secondly, it will be approached the comparative analysis of the title sequences of The vikings (Richard Fleischer, 1958) and Vikings (Michael Hirst, 2013) because both are examples of short short stories that announce and enunciate a wider filmic universe with historical theme and fictional form.
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