Clarissa Colangelo

KU Leuven, Belgium

clarissa.colangelo@kuleuven.be

Luca Di Gregorio

ULiège, Belgium

lucadigregorio15@gmail.com

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May 27, 2019

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"Le Paratexte du Ciné-Roman-Photo"

September 9, 2019

If you are looking for an interesting read, look no further: Jan Baetens' article "Le Paratexte du Ciné-Roman-Photo" is available online at:

http://www.interferenceslitteraires.be/index.php/illi/article/view/1021

 

Abstract:

The literary approach of Seuils does not account for the whole paratext’s dimension, as for example the image (the paratext includes several types of signs, including visual signs), the temporality of the paratext (the paratext is not a homogeneous block, but a “chain” of units and the order in which these units are presented is important), the editing of various paratexts(what is the paratext of a work “included” in a magazine, for example: that of this work, that of the magazine, that of the other parts of the magazine?), the difference between “direct” and “indirect” paratext (should we consider the advertisements in a magazine as part of the paratext of the work?), etc. The example of cineromanzo can help us to interrogate and illustrate  these  kinds  of  issues  that  broaden  the  approach  of  Genette.  After  a  brief presentation  of  the  genre  of ciné-roman-photo,  this  article attempts  to  describe  the  main differences, both in form and function, between the traditional paratext, the one found in a book  of  legitimate  production,  or  canonical,  and  the  paratext  of  the  “industrial”  literature that is the ciné-roman-photo.

 

 

 

 

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