Abstract
After discussing the relationship of title sequences to Genette’s concept of the paratext, along with the definition of the film as text, this article provides an historical contextualisation of a sub-genre of the Italian industrial film characterised by musical and audiovisual experimentation, which arose in the years of the economic miracle (1958–63), flourished throughout the 1960s and came to an end in the early 1970s. The article goes on to analyse some significant examples, exploring three main issues: the relationship of title sequences to a film’s structure, their semantic and rhetorical strategies with particular attention to self-reflexivity, and finally their impact relative to the audience’s experience.
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