Title Sequences as Paratexts

Narrative Anticipation and Recapitulation

Nonfiction, Art & Architecture, General Art, Art Technique, Entertainment, Performing Arts, Film
Cover of the book Title Sequences as Paratexts by Michael Betancourt, Taylor and Francis
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Author: Michael Betancourt ISBN: 9781351329477
Publisher: Taylor and Francis Publication: October 30, 2017
Imprint: Routledge Language: English
Author: Michael Betancourt
ISBN: 9781351329477
Publisher: Taylor and Francis
Publication: October 30, 2017
Imprint: Routledge
Language: English

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.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

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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