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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.
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.
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.
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.
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.
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.
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.
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Portfolio (Paperback)
Michael Betancourt
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R906
R745
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