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.
By Michael Betancourt Routledge 142 pages | 35 B/W Illus.
Table of Contents1. Introduction 2. Direct Synchronization 3. Natural Artifice 4. Counterpoint 5. Songs and Voice-Over 6. Conclusions
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