Title Sequences as Paratexts

Michael Betancourt is an artist/theorist concerned with digital technology 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, Semiotics and Title Sequences, Synchronization and Title Sequences, Glitch Art in Theory and Practice, and Beyond Spatial Montage: Windowing. These publications 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.

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