Title sequences as paratexts : narrative anticipation and recapitulation
Author(s)
Bibliographic Information
Title sequences as paratexts : narrative anticipation and recapitulation
（Routledge studies in media theory & practice, 3）（Routledge focus）
Routledge, 2018
- : hbk
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Note
Includes bibliographical references and index
Description and Table of Contents
Description
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.
Table of Contents
List of Figures
Acknowledgements
1 INTRODUCTION
Limina
Anticipation and Recapitulation
Problems of Cinematic Paratext
2 Narrative Exposition
Pseudo-Independence
Intratextuality
3 Expositional Modes
The Allegory mode
Lexical Expertise
4 The Comment mode
Narrative Futurity
Intertextuality and Quotation
5 The Summary mode
Complex Summary
Narrative Restatement
6 The Prologue mode
Realist Integration
Expository Texts
7 CONCLUSIONS
The Paradoxes of Cinematic Paratext
Typography and Pseudo-Independence
The Ideology of Naturalism::Stylization
Index
by "Nielsen BookData"
