Semiotics and Title Sequences
Text-Image Composites in Motion Graphics
Nonfiction, Entertainment, Film, History & Criticism, Performing Arts, Art & Architecture, General Art, Art Technique
| Author: | Michael Betancourt | ISBN: | 9781351798280 |
| Publisher: | Taylor and Francis | Publication: | September 19, 2017 |
| Imprint: | Routledge | Language: | English |
| Author: | Michael Betancourt |
| ISBN: | 9781351798280 |
| Publisher: | Taylor and Francis |
| Publication: | September 19, 2017 |
| Imprint: | Routledge |
| Language: | English |
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.
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.
