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 Ethnic Politics in Eastern Europe: A Guide to Nationality Policies, Organizations and Parties by Michael Betancourt
Cover of the book The Ideal City by Michael Betancourt
Cover of the book A Widening Sphere (Routledge Revivals) by Michael Betancourt
Cover of the book Toward Modernity by Michael Betancourt
Cover of the book Psychology of Early Childhood by Michael Betancourt
Cover of the book Situated Ethics in Educational Research by Michael Betancourt
Cover of the book Strange Power: Shaping the Parameters of International Relations and International Political Economy by Michael Betancourt
Cover of the book Sensibility and Female Poetic Tradition, 1780–1860 by Michael Betancourt
Cover of the book W.B. Yeats, Ezra Pound, and the Poetry of Paradise by Michael Betancourt
Cover of the book Speed up your French by Michael Betancourt
Cover of the book New Woman Fiction, 1881-1899, Part II vol 5 by Michael Betancourt
Cover of the book The State and Business in the Major Powers by Michael Betancourt
Cover of the book Psychoanalysis, Trauma, and Community by Michael Betancourt
Cover of the book The Geography of Contemporary China by Michael Betancourt
Cover of the book A Handbook of Reflective and Experiential Learning 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