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Title Sequences as Paratexts: Narrative Anticipation and Recapitulation de Michael Betancourt

Title Sequences as Paratexts: Narrative Anticipation and Recapitulation: Routledge Studies in Media Theory and Practice

Autor Michael Betancourt
en Limba Engleză Paperback – 17 dec 2019
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.
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Specificații

ISBN-13: 9780367892371
ISBN-10: 0367892375
Pagini: 176
Dimensiuni: 138 x 216 x 10 mm
Greutate: 0.45 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria Routledge Studies in Media Theory and Practice

Locul publicării:Oxford, United Kingdom

Public țintă

Postgraduate, Professional, and Undergraduate

Cuprins

List of Figures Acknowledgements 1 INTRODUCTION
Limina Anticipation and Recapitulation Problems of Cinematic Paratext
2 Narrative Exposition
Pseudo-Independence Intratextuality
3 Expositional Modes
The Allegory mode Lexical Expertise
4 The Comment mode
Narrative Futurity Intertextuality and Quotation
5 The Summary mode
Complex Summary Narrative Restatement
6 The Prologue mode
Realist Integration Expository Texts
7 CONCLUSIONS
The Paradoxes of Cinematic Paratext Typography and Pseudo-Independence The Ideology of Naturalism::Stylization
Index

Notă biografică

Michael Betancourt is an artist/theorist concerned with digital technology and capitalist ideology. His writing has been translated into Chinese, French, Greek, Italian, Japanese, Persian, Portuguese, and Spanish, and been published in magazines such as The Atlantic, Make Magazine, Millennium Film Journal, Leonardo, Semiotica, and CTheory. He wrote The ____________ Manifesto, and other books such as The Critique of Digital Capitalism, The History of Motion Graphics, Semiotics and Title Sequences, Synchronization and Title Sequences, Glitch Art in Theory and Practice, and Beyond Spatial Montage: Windowing. These publications complement his movies, which have screened internationally at the Black Maria Film Festival, Art Basel Miami Beach, Contemporary Art Ruhr, Athens Video Art Festival, Festival des Cinemas Differents de Paris, Anthology Film Archives, Millennium Film Workshop, the San Francisco Cinematheque’s Crossroads, and Experiments in Cinema, among many others.

Descriere

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