Expand your knowledge of the aesthetics, forms and meaning of motion graphics as well as the long-running connections between the American avant-garde film, video art and TV commercials. In 1960 avant-garde animator and inventor John Whitney started a company called "Motion Graphics, Inc." to make animated titles and logos. His new company crystalized a relationship between avant-garde film and commercial broadcast design/film titles. Careful discussion of historical works puts them in context, allowing their reappearance in contemporary motion graphics clear. This book includes a thorough examination of the history of title design from the earliest films through the present, including Walter Anthony, Saul Bass, Maurice Binder, Pablo Ferro, Wayne Fitzgerald, Nina Saxon, and Kyle Cooper. This book also covers early abstract film (the Futurists Bruno Corra and Arnaldo Ginna, Leopold Survage, Walther Ruttmann, Viking Eggeling, Hans Richter, Oskar Fischinger, Mary Ellen Bute, Len Lye and Norman McLaren) and puts the work of visual music pioneers Mary Hallock-Greenewalt and Thomas Wilfred in context. The History of Motion Graphics is the essential textbook and general reference for understanding how and where the field of motion graphic design came from and where it's going.

This book develops a critical and theoretical approach to the semiotics of motion pictures as they are applied to a broader range of constructions than traditional commercial narrative productions. This interdisciplinary approach begins with the problems posed by motion perception to develop a model of cinematic interpretation that includes both narrative and non-narrative types of productions. Contrasting traditional theatrical projection and varieties of new media, this book integrates analyses of title sequences, music videos, and visual effects with discussions on classic and avant-garde films. It further explores the intersection between formative audio-visual cues identified by viewers and how viewers' desires direct engagement with the motion picture to present a framework for understanding cinematic articulation. This new theoretical model incorporates much of what was neglected and gives greater prominence to formerly critical marginal productions by showing the fundamental connections that link all moving imagery and animated text, whether it tells a story or not. This insightful work will appeal to students and academics in film and media studies.

Expand your knowledge of the aesthetics, forms and meaning of motion graphics as well as the long-running connections between the American avant-garde film, video art and TV commercials. In 1960 avant-garde animator and inventor John Whitney started a company called "Motion Graphics, Inc." to make animated titles and logos. His new company crystalized a relationship between avant-garde film and commercial broadcast design/film titles. Careful discussion of historical works puts them in context, allowing their reappearance in contemporary motion graphics clear. This book includes a thorough examination of the history of title design from the earliest films through the present, including Walter Anthony, Saul Bass, Maurice Binder, Pablo Ferro, Wayne Fitzgerald, Nina Saxon, and Kyle Cooper. This book also covers early abstract film (the Futurists Bruno Corra and Arnaldo Ginna, Leopold Survage, Walther Ruttmann, Viking Eggeling, Hans Richter, Oskar Fischinger, Mary Ellen Bute, Len Lye and Norman McLaren) and puts the work of visual music pioneers Mary Hallock-Greenewalt and Thomas Wilfred in context. The History of Motion Graphics is the essential textbook and general reference for understanding how and where the field of motion graphic design came from and where it's going.

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.

Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today's film editors, motion designers, and other media artists.

Glitch Art in Theory and Practice: Critical Failures and Post-Digital Aesthetics explores the concept of "glitch" alongside contemporary digital political economy to develop a general theory of critical media using glitch as a case study and model, focusing specifically on examples of digital art and aesthetics. While prior literature on glitch practice in visual arts has been divided between historical discussions and social-political analyses, this work provides a rigorous, contemporary theoretical foundation and framework.

Title sequences are the most obvious place where photography and typography combine on-screen, yet they are also a commonly neglected part of film studies. Semiotics and Title Sequences presents the first theoretical model and historical consideration of how text and image combine to create meaning in title sequences for film and television, before extending its analysis to include subtitles, intertitles, and the narrative role for typography. Detailed close readings of classic films starting with The Cabinet of Dr. Caligari, and including To Kill A Mockingbird, Dr. Strangelove, and The Good, the Bad and the Ugly, along with designs from television programs such as Magnum P.I., Castle, and Vikings present a critical assessment of title sequences as both an independent art form and an introduction to the film that follows.

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.

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.

In his latest book, Michael Betancourt explores the nature and role of typography in motion graphics as a way to consider its distinction from static design using the concept of the 'reading-image' to model the ways that motion typography dramatizes the process of reading and audience recognition of language on-screen. Using both classic and contemporary title sequences-including The Man With the Golden Arm (1955), Alien (1979), Flubber (1998), Six Feet Under (2001), The Number 23 (2007) and Scott Pilgrim vs. The World (2010)-Betancourt develops an argument about what distinguishes motion graphics from graphic design. Moving beyond title sequences, Betancourt also analyzes moving or kinetic typography in logo designs, commercials, film trailers, and information graphics, offering a striking theoretical model for understanding typography in media.

This book explores the question of realism in motion pictures. Specifically, it explores how understanding the role of realism in the history of title sequences in film can illuminate discussions raised by the advent of digital cinema. Ideologies of the Real in Title Sequences, Motion Graphics and Cinema fills a critical and theoretical void in the existing literature on motion graphics. Developed from careful analysis of Andre Bazin, Stanley Cavell, and Giles Deleuze's approaches to cinematic realism, this analysis uses title sequences to engage the interface between narrative and non-narrative media to consider cinematic realism in depth through highly detailed close readings of the title sequences for Bullitt (1968), Kolchak: The Night Stalker (1974), The Number 23 (2007), The Kingdom (2008), Blade Runner: 2049 (2017) and the James Bond films. From this critique, author Michael Betancourt develops a modal approach to cinematic realism where ontology is irrelevant to indexicality. His analysis shows the continuity between historical analogue film and contemporary digital motion pictures by developing a framework for rethinking how realism shapes interpretation.

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 are the most obvious place where photography and typography combine on-screen, yet they are also a commonly neglected part of film studies. Semiotics and Title Sequences presents the first theoretical model and historical consideration of how text and image combine to create meaning in title sequences for film and television, before extending its analysis to include subtitles, intertitles, and the narrative role for typography. Detailed close readings of classic films starting with The Cabinet of Dr. Caligari, and including To Kill A Mockingbird, Dr. Strangelove, and The Good, the Bad and the Ugly, along with designs from television programs such as Magnum P.I., Castle, and Vikings present a critical assessment of title sequences as both an independent art form and an introduction to the film that follows.

Glitch Art in Theory and Practice: Critical Failures and Post-Digital Aesthetics explores the concept of "glitch" alongside contemporary digital political economy to develop a general theory of critical media using glitch as a case study and model, focusing specifically on examples of digital art and aesthetics. While prior literature on glitch practice in visual arts has been divided between historical discussions and social-political analyses, this work provides a rigorous, contemporary theoretical foundation and framework.