Synchronization And Title Sequences
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Synchronization and Title Sequences
Author: Michael Betancourt
language: en
Publisher: Taylor & Francis
Release Date: 2017-09-19
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.
Title Sequences as Paratexts
In his third book on the semiotics of title sequences, Title Sequences as Paratexts, theorist Michael Betancourt offers an analysis of the relationship between the title sequence and its primary text—the narrative whose production the titles credit. Using a wealth of examples drawn from across film history—ranging from White Zombie (1931), Citizen Kane (1940) and Bullitt (1968) to Prince of Darkness (1987), Mission: Impossible (1996), Sucker Punch (2011) and Guardians of the Galaxy, Vol. 2 (2017)—Betancourt develops an understanding of how the audience interprets title sequences as instances of paranarrative, simultaneously engaging them as both narrative exposition and as credits for the production. This theory of cinematic paratexts, while focused on the title sequence, has application to trailers, commercials, and other media as well.
Korngold in America
Korngold in America offers new ways of listening to the film scores and post-Hollywood concert works of Erich Wolfgang Korngold (1897--1957), a Viennese-raised Austro-Hungarian composer who left Europe for Hollywood in the mid-1930s to write for Warner Bros. It reassesses Korngold's place in twentieth-century music historiography and dismantles many of the myths that have obscured a proper understanding of his work. Drawing on previously unpublished archival materials, Korngold in America reveals Korngold's commercial and artistic relationships with studio processes and staff, highlights aspects of his compositional practice, and traces the way in which he adapted his skills as a musical dramatist and experienced opera composer to the demands of film. The book presents a more complete picture of Korngold's artistry than has hitherto been possible, showing both the important role played by his music in the Hollywood films of which it is a part and the importance in turn of Hollywood films for his compositional identity. In so doing, it challenges assumptions about the relationship between Korngold's film scores and his works for the concert hall and opera house in ways that draw attention to the significance of Hollywood for histories of twentieth-century music.