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.
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