via https://www.typotheque.com Part four of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. 2: Abstracting the Essence: The Man With The Golden Arm, 1955 Bass began designing film publicity material […]
Read moreEveryone loves Saul Bass. It’s a deserved love. He’s a design giant and designers pay the respect due. But even those amongst us who don’t get hot under the collar for fonts and logo treatments love him, whether they know his name or not. They love his his incredible title sequences for films like The […]
Read moreBy Joseph Tabbi Was Saul Bass a writer? Was he a poet? Given that his film title ‘texts’ are not ‘his’ – not his compositions in the accepted sense, what is his art and how can it be seen as a writer’s art, a literal art? N. Katherine Hayles, an important theorist of writing in […]
Read moreVia eyemagazine.com Title sequences of the 1950s and ’60s grabbed moviegoers with psychological insights, orchestral violence and some lessons learnt from the early pioneers of animation, for whom motion graphics, sound and story were inseparable. By Joel Karamath Title sequences have reached an unprecedented level of attention, with vast numbers of design studios dedicated to […]
Read moreby Noell Wolfgram Evans A night at the movies once went like this: you’d arrive at the theatre, see a short subject, a cartoon, a smaller (B) movie and then the main feature would dance across the screen followed by a slate of coming attractions. Over time and for a variety of reasons this bill […]
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Benjamin Wright via aspectratio.wordpress.com Since my return from Philadelphia I’ve been listening to Film Score Monthly’s groundbreaking release of the music of Superman. The FSM “Blue Box” contains eight compact discs containing the complete original scores from all four Christopher Reeve Superman films (1978-1987) and the music from the short-lived 1988 Superman cartoon series. It’s […]
Read moreby Deborah Allison http://www.latrobe.edu.au/screeningthepast/20/novelty-title-sequences.html There were things that could be done with film, it was crazy not to do them. title designer Wayne Fitzgerald [1] In 1976 Saul Bass designed the opening title sequence for That’s Entertainment Part II (Gene Kelly) and in doing so created a piece of film that was about titles sequences, […]
Read moreBAFTA-nominated titles designers Nic Benns and Miki Kato of Momoco take us behind the the art of creating eye-catching opening credits. http://www.moviescopemag.com/features/the-power-of-opening-credits Question: What do Dexter, True Blood and The IT Crowd have in common? Before you start wondering about serial killers, vampires and computer geeks, rewind a bit. Answer: They are all TV shows […]
Read moreCatch Me If You Can, Auto Focus, Far From Heaven and the Art of Retro Title Sequences by Deborah Allison Source: sensesofcinema.com Deborah Allison is based in the UK and has recently completed a PhD at the University of East Anglia: “Promises in the Dark: Opening Title Sequences in American Feature Films of the Sound […]
Read moreBy EMILY OBERMAN AND BONNIE SIEGLER Published: February 21, 2009 New York Times There’s an Oscar for pretty much every aspect of filmmaking, except one: the title sequences. Titles, though, have always played a significant part in motion pictures. They may have started out as simple black-and-white cards. But in the days before sound, they […]
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