“Not merely para”: continuing steps in paratextual research

“I Didn't See It, But I Know What It's About”: The Motion Picture Trailer and Problematic Synecdoche

“…As Gray sees them, paratexts “fill [texts] with many of the meanings we associate with them,” or work as “mediators” between text and audiences (6, 17). Grey signals the possibility for a departure from Genette by suggesting that paratexts contribute to the texts by filling them with meanings rather than merely introducing the audience and artifact, yet Gray also emphasizes that “paratexts are intrinsic parts of the text as a social and cultural unit” (Brookey and Gray 102). Where he admits that various persons—especially marketers—create incoherency between text and paratexts, Gray insists that trailers and other paratexts mediate a relationship between audiences and text rather than discussing how the paratext might create a unique relation of its own with audiences (103).…”

“With Great Power”: Spinning Environmental Worlds and “Green” Production in The Amazing Spider-Man 2’s Marketing

“…As Jonathan Gray has pointed to, conflicting paratextual meanings are a commonplace condition of the industry, where disparate groups within the production process undertake their creation, often without any communication or synergy to one another. 38 In this case, while some members of the production team, such as the Eco Manager addressed in the last section, were on task in terms of the environmental imperative, Spider-Man 2's marketing team, for example, were not cohesively drawn into this plan. Such practices are perhaps representative of the messy reality of governance and labor networks required within large-scale filmmaking, yet they can have profound impacts on the way a film is received.…”

Narrative Interfaces: Temporality and spatiality in art museums’ online resources

“…For example, if a text is broken down in paragraphs or not, if the size of the fonts used is smaller or bigger, or if it is arranged in a consecutive order, all those spatial dimensions influence the time spent with a text. All these dimensions are here understood as "paratexts" which are "verbal or other productions", and "intrinsic parts of the text" (Brookey & Gray 2017), whose function is "to make present, to ensure the text's presence in the world, its reception and consumption" (Genette 1987, p.1). To be more precise, in books paratexts are constituted by elements including the author's name, covers, titles, prefaces, illustrations, notes, typography, and paper.…”

“…It is one of the gateways we enter through to get things. In the digital era, you have all sorts of modifications of these gateways that we go through, and they are often like organizing systems" Jonathan Gray states (Brookey & Gray 2017). This idea is shared by Johanna Drucker's who makes a similar affirmation, according to her the interface is "a space of affordances and possibilities (...) a set of conditions, structured relations" that enable readings and user interaction" (Drucker 2013).…”