Beyond Spatial Montage
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| Author | : Michael Betancourt |
| Publisher | : Focal Press |
| Total Pages | : 167 |
| Release | : 2016 |
| Genre | : Art |
| ISBN | : 9781315667782 |
Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today's film editors, motion designers, and other media artists.
| Author | : Michael Betancourt |
| Publisher | : CRC Press |
| Total Pages | : 183 |
| Release | : 2016-02-19 |
| Genre | : Art |
| ISBN | : 1317359151 |
Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today’s film editors, motion designers, and other media artists.
| Author | : Michael Betancourt |
| Publisher | : Taylor & Francis |
| Total Pages | : 247 |
| Release | : 2017-09-19 |
| Genre | : Art |
| ISBN | : 135161939X |
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.
| Author | : Michael Betancourt |
| Publisher | : Routledge |
| Total Pages | : 214 |
| Release | : 2017-10-30 |
| Genre | : Art |
| ISBN | : 1351329472 |
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.
| Author | : Michael Frierson |
| Publisher | : Taylor & Francis |
| Total Pages | : 446 |
| Release | : 2018-03-28 |
| Genre | : Art |
| ISBN | : 1315474999 |
Film and Video Editing Theory offers an accessible, introductory guide to the practices used to create meaning through editing. In this book, Michael Frierson synthesizes the theories of the most prominent film editors and scholars, from Herbert Zettl, Sergei Eisenstein, and Noël Burch to the work of landmark Hollywood editors like Walter Murch and Edward Dmytryk. In so doing, he maps out a set of craft principles for readers, whether one is debating if a flashback reveals too much, if a certain cut clarifies or obscures the space of a scene, or if a shot needs to be trimmed. The book is grounded in the unity of theory and practice, looking beyond technical proficiency in a specific software to explain to readers how and why certain cuts work or don’t work.
| Author | : Michael Betancourt |
| Publisher | : Taylor & Francis |
| Total Pages | : 150 |
| Release | : 2016-09-13 |
| Genre | : Art |
| ISBN | : 1315414805 |
Chapter Introduction -- chapter 1 Origins of “Glitch” in The Stoppage -- chapter 2 The Heritage of Materialist Media -- chapter 3 Digital Mis function and Materialist Approaches -- chapter 4 Critical Engagements with Failure.
| Author | : Michael Betancourt |
| Publisher | : Taylor & Francis |
| Total Pages | : 145 |
| Release | : 2017-09-19 |
| Genre | : Art |
| ISBN | : 1351798294 |
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.
| Author | : Andrea Bachner |
| Publisher | : Columbia University Press |
| Total Pages | : 298 |
| Release | : 2014-01-21 |
| Genre | : Literary Criticism |
| ISBN | : 0231164521 |
New communication and information technologies remain challenging for the Chinese script, which, unlike alphabetic or other phonetic scripts, relies on multiple signifying principles. In recent decades, this multiplicity has generated a rich corpus of reflection and experimentation in literature, film, visual and performance art, and design and architecture, both within China and different parts of the West. Approaching this history from alternative theoretical perspectives, this volume pinpoints the phenomena binding languages, scripts, and medial expressions to cultural and national identity. Through a complex study of intercultural representations, exchanges, and tensions, the text focuses on the concrete “scripting” of identity and alterity, advancing a new understanding of the links between identity and medium and a new critique of articulations that rely on single, monolithic, and univocal definitions of writing.
| Author | : |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 281 |
| Release | : 2023-08-24 |
| Genre | : Performing Arts |
| ISBN | : 1839024895 |
This book bridges the gap between film theory and filmmakers' thoughts and poetics, and proposes a new way to address and elaborate film theory. It brings together primary sources by filmmakers themselves, drawing on their films, interviews, books, texts, and manifestos. Divided into three parts, the book covers the main aspects of this approach. Part one discusses the concepts of 'author' and 'filmmaker'. Part two evaluates the creative processes of a broad range of filmmakers, including Víctor Gaviria (Colombia), Kleber Mendonça Filho (Brazil), Jean-Luc Godard and Agnès Varda (France), Abbas Kiarostami (Iran) Pa. Ranjith (India), Andy Warhol (USA), Maya Deren (Ukraine-USA) and Nuri Bilge Ceylan (Turkey). The final part examines filmmakers' various techniques, particularly the use of multi-images, after-(dialectical)-images, and the use of sound as a sensorial and narrative tool. This curated selection of writings, with contributors from a range of countries including the USA, UK, India, China, Portugal, Brazil, Belgium and New Zealand, reflects the global perspective of this new approach. The volume also discusses the ways in which filmmakers influence each other, the spectator as seen by filmmakers, and ways to critically address a filmography that takes into account filmmakers other than the director.
| Author | : Miriam Harris |
| Publisher | : Routledge |
| Total Pages | : 338 |
| Release | : 2019-01-30 |
| Genre | : Social Science |
| ISBN | : 1351788000 |
Experimental Animation: From Analogue to Digital, focuses on both experimental animation’s deep roots in the twentieth century, and its current position in the twenty-first century media landscape. Each chapter incorporates a variety of theoretical lenses, including historical, materialist, phenomenological and scientific perspectives. Acknowledging that process is a fundamental operation underlining experimental practice, the book includes not only chapters by international academics, but also interviews with well-known experimental animation practitioners such as William Kentridge, Jodie Mack, Larry Cuba, Martha Colburn and Max Hattler. These interviews document both their creative process and thoughts about experimental animation’s ontology to give readers insight into contemporary practice. Global in its scope, the book features and discusses lesser known practitioners and unique case studies, offering both undergraduate and graduate students a collection of valuable contributions to film and animation studies.
