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Synchronization and Title Sequences: Audio-Visual Semiosis in Motion Graphics: Routledge Studies in Media Theory and Practice

Autor Michael Betancourt
en Limba Engleză Hardback – 17 mai 2017
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.
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Specificații

ISBN-13: 9781138085060
ISBN-10: 1138085065
Pagini: 154
Ilustrații: 35 Illustrations, black and white
Dimensiuni: 138 x 216 x 11 mm
Greutate: 0.29 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria Routledge Studies in Media Theory and Practice

Locul publicării:Oxford, United Kingdom

Public țintă

Postgraduate and Undergraduate

Notă biografică

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.

Cuprins

Introduction; 1: The Progressive Myth; 2: A Precarious Balance; 3: The Tilt in the States; 4: Federal Repercussions; 5: The Anomalous Counterweight; 6: Beveling the Congress; 7: The Deliberation to End All Deliberations; Epilogue

Descriere

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.