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.
By Michael Betancourt Routledge 162 pages | 40 B/W Illus. Hardback: 9781138572621 pub: 2017-11-02
Table of ContentsList of Figures Acknowledgements 1 INTRODUCTION
Limina Anticipation and Recapitulation Problems of Cinematic Paratext2 Narrative Exposition
Pseudo-Independence Intratextuality3 Expositional Modes
The Allegory mode Lexical Expertise4 The Comment mode
Narrative Futurity Intertextuality and Quotation5 The Summary mode
Complex Summary Narrative Restatement6 The Prologue mode
Realist Integration Expository Texts7 CONCLUSIONS
The Paradoxes of Cinematic Paratext Typography and Pseudo-Independence The Ideology of Naturalism::StylizationIndex
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