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

More books from Taylor and Francis

Cover of the book Ts'ao P'i Transcendent by Michael Betancourt
Cover of the book Women Divided by Michael Betancourt
Cover of the book Being Catholic in the Contemporary Philippines by Michael Betancourt
Cover of the book Terrorism and Collective Responsibility by Michael Betancourt
Cover of the book Making the Great Book of Songs by Michael Betancourt
Cover of the book Intellectual Teamwork by Michael Betancourt
Cover of the book Governing Urban Regions Through Collaboration by Michael Betancourt
Cover of the book The Clansman: An Historical Romance of the Ku Klux Klan by Michael Betancourt
Cover of the book International Relations in France by Michael Betancourt
Cover of the book Parliaments and Parties in Egypt by Michael Betancourt
Cover of the book Solving the Riddle of Globalization and Development by Michael Betancourt
Cover of the book Gendered Bodies and Leisure by Michael Betancourt
Cover of the book The Voice of the Blues by Michael Betancourt
Cover of the book Global Lean by Michael Betancourt
Cover of the book Covert Network: Progressives, the International Rescue Committee and the CIA by Michael Betancourt
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy