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001    974487791 
003    OCoLC 
005    20240129213017.0 
006    m     o  d         
007    cr ||||||||||| 
008    170301s2017    nyu     ob    001 0 eng   
010      2017010069 
019    1005506622|a1005547352|a1005571298|a1008595945|a1012118233
       |a1016340387 
020    9781315206851|q(E-book) 
020    1315206854 
020    9781351798280 
020    1351798286 
020    9781351798297 
020    1351798294 
020    9781351798273 
020    1351798278 
020    |q(hardback) 
020    |q(hardback) 
029 1  AU@|b000062395344 
029 1  GBVCP|b1014935393 
035    (OCoLC)974487791|z(OCoLC)1005506622|z(OCoLC)1005547352
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037    1040179|bMIL 
037    9781315206851|bTaylor & Francis 
040    DLC|beng|erda|epn|cDLC|dOCLCF|dCOO|dNJT|dN$T|dEBLCP|dNLE
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042    pcc 
049    INap 
082 00 777/.55 
082 00 777/.55|223 
099    eBook O'Reilly for Public Libraries 
100 1  Betancourt, Michael,|d1970-|eauthor. 
245 10 Semiotics and title sequences :|bcompositing text and 
       image in motion graphics /|cMichael Betancourt.|h[O'Reilly
       electronic resource] 
264  1 New York :|bRoutledge,|c2017. 
300    1 online resource 
336    text|btxt|2rdacontent 
337    computer|bn|2rdamedia 
338    online resource|bnc|2rdacarrier 
490 1  Routledge studies in media theory & practice ;|v1 
504    Includes bibliographical references and index. 
505 0  Chapter 1 1 -- chapter 2 2 -- chapter 3 3 -- chapter 4 4 -
       - chapter 5 5 -- chapter 6 The Importance of Theory. 
520 2  "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."--Provided by publisher. 
545 0  Michael Betancourt 
588 0  Print version record and CIP data provided by publisher. 
590    O'Reilly|bO'Reilly Online Learning: Academic/Public 
       Library Edition 
650  0 Motion pictures|xTitling. 
650  0 Credit titles (Motion pictures, television, etc.) 
650  0 Semiotics. 
650  6 Titrage (Cinéma) 
650  6 Générique (Cinéma, télévision, etc.) 
650  7 Credit titles (Motion pictures, television, etc.)|2fast 
650  7 Motion pictures|xTitling|2fast 
650  7 Semiotics|2fast 
776 08 |iPrint version:|aBetancourt, Michael, 1970-|tSemiotics 
       and title sequences.|dNew York : Routledge, 2017
       |z9781138634206|w(DLC)  2016048456 
830  0 Routledge studies in media theory & practice ;|v1. 
856 40 |uhttps://ezproxy.naperville-lib.org/login?url=https://
       learning.oreilly.com/library/view/~/9781351798280/?ar
       |zAvailable on O'Reilly for Public Libraries 
938    EBL - Ebook Library|bEBLB|nEBL4912822 
938    EBSCOhost|bEBSC|n1555026 
938    ProQuest MyiLibrary Digital eBook Collection|bIDEB
       |ncis36497932 
938    Taylor & Francis|bTAFR|n9781315206851 
938    YBP Library Services|bYANK|n14871005 
938    YBP Library Services|bYANK|n14974610 
994    92|bJFN