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   avant-garde movies, motion graphics, and theory
 
 
updates on Michael Betancourt
 

Here is press coverage, art projects, and other announcements.

Michael Betancourt screened internationally in the Black Maria Film Festival, Contemporary Art Ruhr, Festival des Cinemas Differents de Paris, Millennium Film Workshop, and Experiments in Cinema among others. He wrote The ____________ Manifesto, has published in The Atlantic, Millennium Film Journal, Leonardo, and CTheory; was translated into Chinese, French, Greek, Italian, Japanese, Persian, Portuguese, and Spanish; and authored twenty-one books, including The Critique of Digital Capitalism, The History of Motion Graphics, and Beyond Spatial Montage: Windowing.

If you are looking for more on his movies and other theory and visual media work,
please visit his on-line portfolio at MichaelBetancourt.com.


 



Title Sequences as Paratexts - Now Available!

story © Michael Betancourt | published November 2, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Betancourt

You can now order my new book Title Sequences as Paratexts: Narrative Anticipation and Recapitulation!

It's part of the Routledge Studies in Media Theory and Practice series, and offers an analysis of the relationship between the title sequence and its primary textthe narrative whose production the titles credit. Using a wealth of examples drawn from across film historyranging 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.






 

Going Somewhere - reviewed by David Finkelstein

story © Michael Betancourt | published July 12, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Betancourt

David Finkelstein wrote a review of my movie serial Going Somewhere for Film International called "Recombinant Modification of Sci Fi Going Somewhere (2015)" that's available online:

Something fascinating and strange is going on in Going Somewhere, an ongoing movie serial by Michael Betancourt, with individual episodes which are all 7 minutes long. The source material for these digital mini-epics comes from a variety of science and science fiction materials: old Grade Z Sci Fi epics, civil defense films and WWII documentaries, NASA footage. Betancourt uses sophisticated datamoshing and databending techniques to completely transform these materials. These techniques reach inside of the numbers which store digital video and mess up the data in more or less controlled ways that morph one image into the next. They allow Betancourt to radically change the original colors and forms.

Also available as a [pdf] for download






 

Synchronization and Title Sequences - Now Available!

story © Michael Betancourt | published May 17, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Betancourt

You can now order my new book Synchronization and Title Sequences: Audio-Visual Semiosis in Motion Graphics!

It's part of the Routledge Studies in Media Theory and Practice series, and proposes a semiotic analysis of the synchronization of image and sound in motion pictures using title sequences as its focus. It is the second volume in Michael Betancourt's study of semiotics and cinema using the title sequence as a critical focus, allowing for a consideration of fundamental theoretical issues apart from both the issues of narrative and realism common to commercial media. 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. The resulting study of synchronization is both a critical analysis and a theory of visual music in cinema.






 

Semiotics and Title Sequences - Now Available!

story © Michael Betancourt | published January 25, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Betancourt

My new book, Semiotics and Title Sequences: Text-Image Composites in Motion Graphics is now in print! You can order a copy from the publisher's website today!

Title sequences are the most obvious place where photography and typography combine on-screen, yet they are also a commonly neglected part of film studies. Semiotics and Title Sequences presents the first theoretical model and historical consideration of how text and image combine to create meaning in title sequences for film and television, before extending its analysis to include subtitles, intertitles, and the narrative role for typography. Detailed close readings of classic films starting with The Cabinet of Dr. Caligari, and including To Kill A Mockingbird, Dr. Strangelove, and The Good, the Bad and the Ugly, along with designs from television programs such as Magnum P.I., Castle, and Vikings present a critical assessment of title sequences as both an independent art form and an introduction to the film that follows.






 

Blacklie II includes my abstract photograpy

story © Michael Betancourt | published January 17, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Betancourt

I have some abstract photographs in Blacklie II. Now available here