A methodology for filmic microanalysis

Abstract

The openings of North American Contemporary Drama Television Series collect and subvert the formal characteristics and the narrative and expressive recourses from its historiographical and cinematographic referents —the movie title credits— calling the analyst’s reflexive and critic interest. Thus, it highlights the need for the formulation of a new theoretical construct that allows the approach to these narrative particles, discursive paradigms that extend both the opening — previously, teaser— as the closure —ending, pre-ending— of the televisions series that conforms our object of study. At the time, it’s required a typological categorization of movie title credits and a development of scales whose application build a film microanalysis methodology capable of shelling these sequences from a synecdochic point of view.