Synchronization and Title Sequences: Audio-Visual Semiosis in Motion Graphics

155 Pages·2017·5.179 MB·English

by  Michael Betancourt

Synchronization and Title Sequences
Synchronization and Title Sequences proposes a semiotic analysis of
the synchronization of image and sound in motion pictures using title
sequences. It is the second volume in Michael Betancourt’s study of
semiotics and cinema using the title sequence as a critical focus, allowing
for a consideration of fundamental theoretical issues apart from both the
issues of narrative and realism common to commercial media. 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 relation-
ships develop on-screen. The resulting study of synchronization is both a
critical analysis and a theory of visual music in cinema.
Michael Betancourt is an artist/theorist concerned with digital technol-
ogy and capitalist ideology. His writing has been translated into Chinese,
French, Greek, Italian, Japanese, Persian, Portuguese, and Spanish,
and been published in magazines such as The Atlantic, Make Magazine,
Millennium Film Journal, Leonardo, Semiotica, and CTheory. He wrote
The ____________ Manifesto, and other books such as The Critique of
Digital Capitalism, The History of Motion Graphics, Glitch Art in Theory
and Practice, and Beyond Spatial Montage: Windowing. These publica-
tions complement his movies, which have screened internationally at the
Black Maria Film Festival, Art Basel Miami Beach, Contemporary Art
Ruhr, Athens Video Art Festival, Festival des Cinemas Differents de
Paris, Anthology Film Archives, Millennium Film Workshop, the San
Francisco Cinematheque’s Crossroads, and Experiments in Cinema,
among many others.
Routledge Studies in Media Theory & Practice
1 Semiotics and Title Sequences
Text-Image Composites in Motion Graphics
Authored by Michael Betancourt
2 Synchronization and Title Sequences
Audio-Visual Semiosis in Motion Graphics
Authored by Michael Betancourt
Synchronization and
Title Sequences
Audio-Visual Semiosis in
Motion Graphics
Michael Betancourt
First published 2017
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2017 Michael Betancourt
The right of Michael Betancourt to be identified as the author of this work has been asserted by him in
accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by
any electronic, mechanical, or other means, now known or hereafter invented, including photocopying
and recording, or in any information storage or retrieval system, without permission in writing from
the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used
only for identification and explanation without intent to infringe.
Some sections of this book were adapted from previously published essays concerned with
documenting my studio practice; it emerges from my earlier studio/theoretical work with/on VJ, visual
music, and abstract movies:
The typologies of synchronization are adapted from my book Structuring Time: notes on making
movies published by Wildside Press in 2004.
and from
“Rhythmic Synchronization,” and “Visual Music Notes,” published in Canyon Cinemazine no. 3,
March 28, 2015.
Discussion of visual music and abstract film appearing in Chapter 3 was adapted from my Barbara
Wilson Memorial Lecture at the University of Nebraska-Omaha in 2006.
and from
“Synchronous Form in Visual Music,” Off Screen, vol. 11, nos. 8–9 (August/September) 2007.
The periodizing framework for the history of title sequences is adapted from my book The History of
Motion Graphics: From Avant-Garde to Industry in the United States, published by Wildside Press in
2013.
“Scooby-Doo, Where Are You!” lyrics written by David Mook and Ben Raleigh, copyright 1969
Warner/Chappell Music, Inc.
“Nobody Does It Better” lyrics written by Carole Bayer Sager, copyright 1977 Sony/ATV Music
Publishing LLC.
Library of Congress Cataloging in Publication Data
Names: Betancourt, Michael, 1970- author.
Title: Synchronization and title sequences : audio-visual semiosis in motion graphics / Michael
Betancourt.Description: New York : Routledge, Taylor & Francis Group, 2018. | Series: Routledge
studies in media theory & practice | Includes bibliographical references and index.
Identifiers: LCCN 2017009253 (print) | LCCN 2017010111 (ebook) |
ISBN 9781138085060 (hbk) | ISBN 9781315111551 (ebk)
Subjects: LCSH: Sound in motion pictures. | Motion pictures—Titling. | Sound symbolism. | Motion
pictures—Semiotics. | Synchronization. | Credit titles (Motion pictures, television, etc.)
Classification: LCC TR897 .B47 2018 (print) | LCC TR897 (ebook) | DDC 777/.53—dc23
LC record available at https://lccn.loc.gov/2017009253
ISBN: 978-1-138-08506-0 (hbk)
ISBN: 978-1-315-11155-1 (ebk)
Typeset in Times New Roman MT Std
by diacriTech, Chennai
For Leah

Table of Contents
List of Figures ix
Acknowledgments xi
1 Introduction 1
The Development of Title Sequences 8
Primary Recognition 13
Emergent Identification 17
2 Direct Synchronization 24
The Synchronized 27
Naturalistic Synchronization 32
Diegetic and Non-Diegetic Synchronization 36
3 Natural Artifice 46
The “Visual Music” Heritage 49
The Ideology of Synchronization 53
Illustrative Synchronization 59
4 Counterpoint 70
Reservations about the “Talkies” 73
Counterpoint Synchronization 82
Quotational Counterpoint 85
viii Table of Contents
5 Songs and Voice-Over 95
Music 98
Title Songs 101
Narrated Montages 119
6 Conclusions 129
The Statement of Synchronization 129
The Immanence of Ideology 132
The Role of Music and Theme Songs 136
Index 139
Figures
Frontis Illustration of an Auto-Ophicleide playing in “A Steam
Concert” from Un Autre Monde (1844) by J.J. Grandville,
page 24 xii
1.1 All the title cards in Rumba (1935) 8
1.2 Selected stills from Lichtspiel: Opus I (left, 1921) and
Lichtspiel: Opus III (right, 1924) by Walther Ruttmann;
the title sequence to X-Men: First Class (2011); Tarantella
(1940) by Mary Ellen Bute; and the title sequence to
Ça Ce Soigne? (Is It Treatable? 2008) 12
1.3 Album cover for Les Echanges (1964) by Rolf Liebermann 19
1.4 Distinctions between Music and Non-Music adapted from
Figure 2.6 in A Theory of Musical Semiosis by
Eero Tarasti 20
2.1 All the title cards in The Player (1992) 26
2.2 Selected stills from the title sequence to
Belle de Jour (1967) 33
2.3 Selected stills from the title sequence to One
Flew Over the Cuckoo’s Nest (1974) 35
2.4 All the title cards in The Set-Up (1949) 37
2.5 All the title cards in Beat the Devil (1953) 40
2.6 All the title cards in The Adventures of Baron
Munchausen (1988) 43
3.1 Selected stills from the title sequence to Wimbledon (2004) 47
3.2 All the title cards in The Man with the Golden Arm (1955) 48
3.3 Selected stills from Heroes (2009) 54
3.4 All the title cards in The Trollenberg Terror (aka
The Crawling Eye, 1958) 60
3.5 All the title cards in The Seven Year Itch (1955) 61
3.6 All the title cards in The Bold Ones (1970) 62
3.7 All the title cards in All the President’s Men (1976) 64