Keywords
opening, Ryan Murphy, series de televisión, terror, diseño, Opening, Ryan Murphy, television series, terror, design
La guarida de la perversión
Abstract
.La autoría cinematográfica como una “huella de huellas” (Gómez Tarín, 2005) adquiere un carácter paradigmático en la obra de Ryan Murphy. Su papel como showrunner revela una mirada personal y compleja al audiovisual posmoderno, evidenciada en los títulos de crédito de sus series. Estas secuencias, repetidas y simbólicamente densas, enriquecen el contenido narrativo y estético.
Ejemplo de ello es el opening de Nip/Tuck, donde la dualidad de los maniquíes cuestiona la artificialidad de la belleza, acompañado de la canción A Perfect Lie de The Engine Room. En American Horror Story, los títulos de crédito generan un umbral de terror, con un estilo intertextual inspirado en Se7en (David Fincher, 1995), obra clave en la evolución del diseño audiovisual.
La historia del diseño de créditos suele recordar a Saul Bass, cuyas secuencias a menudo superaban las películas que introducían. Su colaboración con Hitchcock y Bernard Herrmann en clásicos como Vértigo, North by Northwest y Psycho marcó un precedente. Ryan Murphy, heredero de esta tradición y del videoclip contemporáneo, convierte los openings de sus series en espacios de mitificación del mal, arrastrando al espectador a lo perverso.
En Se7en, los créditos anticipan la mente del asesino antes que los detectives. En las series de Murphy, la repetición inherente a la serialidad permite que el espectador se familiarice con la estética de lo siniestro, consolidando los openings como un portal a la perversión y un sello distintivo de su autoría.
.The concept of cinematic authorship as a “trace of traces” (Gómez Tarín, 2005) takes on a paradigmatic role in Ryan Murphy’s work. His role as a showrunner reveals a personal and complex perspective on postmodern audiovisual storytelling, particularly evident in the title sequences of his series. These repeated, symbolically rich sequences enhance both the narrative and aesthetic dimensions. An example is the Nip/Tuck opening, where mannequins embody the artificiality of beauty, accompanied by A Perfect Lie by The Engine Room. In American Horror Story, the title sequences create a threshold of horror, drawing intertextual inspiration from Se7en (David Fincher, 1995), a key work in the evolution of audiovisual design. The history of title design often recalls Saul Bass, whose sequences frequently outshone the films they introduced. His collaboration with Hitchcock and Bernard Herrmann in classics like Vertigo, North by Northwest, and Psycho set a precedent. Ryan Murphy, inheriting this tradition and influenced by contemporary music videos, transforms the openings of his series into spaces of mythification of evil, immersing viewers in the perverse. In Se7en, the credits grant access to the killer’s mind before the detectives even find a lead. In Murphy’s series, the repetition inherent in serial storytelling fosters audience familiarity with sinister aesthetics, making the openings a gateway to darkness and a distinctive mark of his authorship.
.The concept of cinematic authorship as a “trace of traces” (Gómez Tarín, 2005) takes on a paradigmatic role in Ryan Murphy’s work. His role as a showrunner reveals a personal and complex perspective on postmodern audiovisual storytelling, particularly evident in the title sequences of his series. These repeated, symbolically rich sequences enhance both the narrative and aesthetic dimensions. An example is the Nip/Tuck opening, where mannequins embody the artificiality of beauty, accompanied by A Perfect Lie by The Engine Room. In American Horror Story, the title sequences create a threshold of horror, drawing intertextual inspiration from Se7en (David Fincher, 1995), a key work in the evolution of audiovisual design. The history of title design often recalls Saul Bass, whose sequences frequently outshone the films they introduced. His collaboration with Hitchcock and Bernard Herrmann in classics like Vertigo, North by Northwest, and Psycho set a precedent. Ryan Murphy, inheriting this tradition and influenced by contemporary music videos, transforms the openings of his series into spaces of mythification of evil, immersing viewers in the perverse. In Se7en, the credits grant access to the killer’s mind before the detectives even find a lead. In Murphy’s series, the repetition inherent in serial storytelling fosters audience familiarity with sinister aesthetics, making the openings a gateway to darkness and a distinctive mark of his authorship.
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