This book explores the question of realism in motion pictures. Specifically, it explores how understanding the role of realism in the history of title sequences in film can illuminate discussions raised by the advent of digital cinema.
Ideologies of the Real in Motion Graphics and Title Sequences fills a critical and theoretical void in the existing literature on motion graphics. Developed from careful analysis of André Bazin, Stanley Cavell, and Giles Deleuze’s approaches to cinematic realism, this analysis uses title sequences to engage the interface between narrative and non-narrative media to consider cinematic realism in depth through highly detailed close readings of the title sequences for Bullitt (1968), Kolchak: The Night Stalker (1974), The Number 23 (2007), The Kingdom (2008), Blade Runner: 2049 (2017) and the James Bond films. From this critique, author Michael Betancourt develops a modal approach to cinematic realism where ontology is irrelevant to indexicality. His analysis shows the continuity between historical analogue film and contemporary digital motion pictures by developing a framework for rethinking how realism shapes interpretation.
Part 1 — Subjectivity
1. Ontology, Editing, Photography in Kolchak: The Night Stalker (1974)
2. Sublime, Uncanny, Marvelous in The Number 23 (2007)
3. Subjective Desire in Goldfinger (1964)
Part 2 — Objectivity
4. Narrational Naturalism in Bullitt (1968)
5. Persuasion in The Kingdom (2007)
6. Allusion of Errors in Blade Runner: 2049 (2017)
Part 3 — Ideologies
7. The Medium
8. The Message
9. Realist Articulation
Afterword: Digital Movies