Spiral, Slasher, and Sequel: Case of Happy Death Day (2017) and Happy Death Day 2U (2019)

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F19%3A00113542" target="_blank" >RIV/00216224:14210/19:00113542 - isvavai.cz</a>

Výsledek na webu

<a href="https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/4341" target="_blank" >https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/4341</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.26881/pan.2019.22.04" target="_blank" >10.26881/pan.2019.22.04</a>

Jazyk výsledku

čeština

Název v původním jazyce

Spiral, Slasher, and Sequel: Case of Happy Death Day (2017) and Happy Death Day 2U (2019)

Popis výsledku v původním jazyce

This article focuses on the films HAPPY DEATH DAY (2017) and HAPPY DEATH DAY 2U (2019). Both handle the spiral narrative, which is recognised by the article as a specific storytelling pattern with a protagonist stuck in an iterative segment of space, time and causality – and this protagonist is not only fully aware of this situation but also tries to deal with it. What for other unaware characters is a closed loop is for the protagonist an open experience with an odd number of turns of time spiral. The spiral narrative is known mostly from high-budget films such as GROUNDHOG DAY (1993) or EDGE OF TOMORROW (2014). Nevertheless, as the article explains, it occurs in dozens of other theatrical films, VOD films, television films or television shows. However, what are the reasons why, when there is an extensive set of works to choose from, does the article takes just the doublet of HAPPY DEATH DAY films? (1) On their example, the article discusses author's general hypothesis about spiral narrative works as a series of applications of the innovative narrative schema as an aesthetic tool. Such a hypothesis consists of three broader dimensions: (a) the aesthetic dimension, i.e. the spiral schema as a part of the art work; (b) the creative dimension, i.e. the spiral schema as part of the problem-solution process of filmmaking; (c) the production dimension, i.e. the spiral schema as a part of the competition of audiovisual production. (2) An even more important reason, though, for selecting just these two films has been the fact that HAPPY DEATH DAY 2U is a sequel of HAPPY DEATH DAY. In the "post-classical era" of global franchises, sequels, prequels, remakes, reboots and transmedia storytellings, this does not seem to be exceptional. However, in the context of the spiral narrative, this is an unprecedented step that raises several questions the article asks.

Název v anglickém jazyce

Spiral, Slasher, and Sequel: Case of Happy Death Day (2017) and Happy Death Day 2U (2019)

Popis výsledku anglicky

This article focuses on the films HAPPY DEATH DAY (2017) and HAPPY DEATH DAY 2U (2019). Both handle the spiral narrative, which is recognised by the article as a specific storytelling pattern with a protagonist stuck in an iterative segment of space, time and causality – and this protagonist is not only fully aware of this situation but also tries to deal with it. What for other unaware characters is a closed loop is for the protagonist an open experience with an odd number of turns of time spiral. The spiral narrative is known mostly from high-budget films such as GROUNDHOG DAY (1993) or EDGE OF TOMORROW (2014). Nevertheless, as the article explains, it occurs in dozens of other theatrical films, VOD films, television films or television shows. However, what are the reasons why, when there is an extensive set of works to choose from, does the article takes just the doublet of HAPPY DEATH DAY films? (1) On their example, the article discusses author's general hypothesis about spiral narrative works as a series of applications of the innovative narrative schema as an aesthetic tool. Such a hypothesis consists of three broader dimensions: (a) the aesthetic dimension, i.e. the spiral schema as a part of the art work; (b) the creative dimension, i.e. the spiral schema as part of the problem-solution process of filmmaking; (c) the production dimension, i.e. the spiral schema as a part of the competition of audiovisual production. (2) An even more important reason, though, for selecting just these two films has been the fact that HAPPY DEATH DAY 2U is a sequel of HAPPY DEATH DAY. In the "post-classical era" of global franchises, sequels, prequels, remakes, reboots and transmedia storytellings, this does not seem to be exceptional. However, in the context of the spiral narrative, this is an unprecedented step that raises several questions the article asks.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

—

Návaznosti

N - Vyzkumna aktivita podporovana z neverejnych zdroju

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Panoptikum

ISSN

1730-7775

e-ISSN

—

Svazek periodika

29

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

16

Strana od-do

128-143

Kód UT WoS článku

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EID výsledku v databázi Scopus

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