- Book author
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- Michael Betancourt
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.
Acknowledgements:
This book began in talks about the role and potentials for synchronized sound in motion pictures with my friend and fellow artist, Charles Recher. The final form it has taken would not have been possible without the discussions with my graduate students, especially Dominica Jordan, Noël Anderson, and Matt Van Rys; and my colleagues Min Ho Shin and John Colette. Special thanks go to my brother, John Betancourt, for his assistance with locating many of the title sequences that inform this study.
Acknowledgements:
This book began in talks about the role and potentials for synchronized sound in motion pictures with my friend and fellow artist, Charles Recher. The final form it has taken would not have been possible without the discussions with my graduate students, especially Dominica Jordan, Noël Anderson, and Matt Van Rys; and my colleagues Min Ho Shin and John Colette. Special thanks go to my brother, John Betancourt, for his assistance with locating many of the title sequences that inform this study.
