Synchronization and Title Sequences proposes a semiotic analysis of the synchronization of image and sound in motion pictures using title sequences. Through detailed historical close readings of title designs that use either voice-over, an instrumental opening, or title song to organize their visuals—from Vertigo (1958) to The Player (1990) and X-Men: First Class (2011)—author Michael Betancourt develops a foundational framework for the critique and discussion of motion graphics’ use of synchronization and sound, as well as a theoretical description of how sound-image relationships develop on-screen.
List of Figures
Notes on the Author
The Development of Title Sequences
2. DIRECT SYNCHRONIZATION
Diegetic and Non-Diegetic Synchronization
3. NATURAL ARTIFICE
The "Visual Music" Heritage
The Ideology of Synchronization
Reservations about the "Talkies"
5. SONGS AND VOICE-OVER
The Statement of Synchronization
The Immanence of Ideology
The Role of Music and Theme Songs