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.
Table of Contents
List of Figures
Notes on the Author
The Development of Title Sequences
2. DIRECT SYNCHRONIZATION
Diegetic and Non-Diegetic Synchronization
3. NATURAL ARTIFICE
The "Visual Music" Heritage
The Ideology of Synchronization
Reservations about the "Talkies"
5. SONGS AND VOICE-OVER
The Statement of Synchronization
The Immanence of Ideology
The Role of Music and Theme Songs
Michael Betancourt is a theorist, historian, and artist concerned with digital technology and capitalist ideology. He is the author of The ____________ Manifesto, The History of Motion Graphics, Beyond Spatial Montage, Glitch Art in Theory and Practice, Semiotics and Title Sequences, and The Critique of Digital Capitalism. He has exhibited internationally, and his work has been translated into Chinese, French, German, Greek, Italian, Japanese, Persian, Portuguese, and Spanish, and published in journals such as The Atlantic, Make Magazine, CTheory, and Leonardo.