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Synchronization and Title Sequences
Audio-Visual Semiosis in Motion Graphics
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Book Presentation:
Synchronization and Title Sequences proposes a semiotic analysis of the synchronization of image and sound in motion pictures using title sequences. Through detailed historical close readings of title designs that use either voice-over, an instrumental opening, or title song to organize their visuals—from Vertigo (1958) to The Player (1990) and X-Men: First Class (2011)—author Michael Betancourt develops a foundational framework for the critique and discussion of motion graphics’ use of synchronization and sound, as well as a theoretical description of how sound-image relationships develop on-screen.
About the Author:
Michael Betancourt is a theorist, historian, and artist concerned with digital technology and capitalist ideology. He is the author of The ____________ Manifesto, The History of Motion Graphics, Beyond Spatial Montage, Glitch Art in Theory and Practice , Semiotics and Title Sequences, and The Critique of Digital Capitalism. He has exhibited internationally, and his work has been translated into Chinese, French, German, Greek, Italian, Japanese, Persian, Portuguese, and Spanish, and published in journals such as The Atlantic, Make Magazine, CTheory, and Leonardo .
See the publisher website: Routledge
> From the same author:
Beyond Spatial Montage (2016)
Windowing, or the Cinematic Displacement of Time, Motion, and Space
> On a related topic:
Christian Metz and the Codes of Cinema (2018)
Film Semiology and Beyond
Dir. Margrit Tröhler and Guido Kirsten
Subject: Theory
Conversations with Christian Metz (2017)
Selected Interviews on Film Theory
Dir. Warren Buckland and Daniel Fairfax
Subject: Theory
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