CONTENTS

 
   about
   MICHAEL BETANCOURT NEWS
   movies: AESTHETICS
   movies: NEWS & REVIEWS
   movies: SHOWS & SCREENINGS
   random art notes
   random how-tos
   research: AVANT-GARDE MOVIES
   research: MOTION GRAPHICS
   research: VISUAL MUSIC
   theory: CRITICAL OBSERVATIONS
   theory: DIGITAL CAPITALISM
   theory: GLITCH & POSTDIGITAL
   theory: working notes

 

PORTFOLIO

 
Movies by Michael Betancourt

 michaelbetancourt.com
 Art of Light Organization
 Going Somewhere
 exhibitions [pdf]
 updates
 books
 contact
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SEARCH ARCHIVES

archives begin in 1996

  

Title Sequences as Paratexts - Now Available!

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



MICHAEL BETANCOURT NEWS

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.






 
Synchronization and Title Sequences - Now Available!

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



MICHAEL BETANCOURT NEWS

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



MICHAEL BETANCOURT NEWS

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



MICHAEL BETANCOURT NEWS

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






 
Order my book - Beyond Spatial Montage - now in print!

story © Michael Betancourt | published March 20, 2016 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



MICHAEL BETANCOURT NEWS

My 25-year long project concerned with windowing and collage/spatial montage is now available on amazon.com. Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, this study critiques both cinematic realism and Manovich's proposal of "spatial montage." This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for todays film editors, motion designers, and other media artists.

You can read a preview here.