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.

chapter 1|23 pages


chapter 2|22 pages

Direct Synchronization

chapter 3|24 pages

Natural Artifice

chapter 4|25 pages


chapter 5|34 pages

Songs and Voice-Over

chapter 6|10 pages