Film Title Sequence ‘Symbolize and Summarize’ (Saul Bass)
Dissertation Route B
Georgios Pefanis PEF11326709 BA (Hons) Graphic and Media Design Year of Graduation: 2014 Tutor: Christopher de Selincourt
Abstract My intention is to explore film title sequence. After reviewing the film title sequence’s history I will focus on the use of symbolism and summarisation. Inspired by the above quote of Saul Bass, a dominant figure and pioneer in title design, I will attempt to investigate the functions fulfilled by these expression means and their contribution on the essential mission and success of the film title sequence. Title sequence shall be shown to evolve. Four different films will be examined and summarisation and symbolism will be shown as key factors in their success. Consideration will be given to title sequences with no evidence of symbolism or summarisation. Finally conclusions will be drowned on the merit of these two means in title sequence.
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List of Figures Figure 01 Griffith, D.W. (1916) Intolerance, Title Sequence. [online image]. Available at: <http://www.mardecortesbaja.com/2007/05/18/intolerance/> [Accessed 10 December 2013]. Figure 02 Ferro, P. (1968) The Thomas Crown Affair, Title Sequence. [online image]. Available at: <http://www.artofthetitle.com/title/the-thomas-crown-affair/> [Accessed 12 December 2013]. Figure 03 Binder, M. (1962) 007 Gun Barrel Sequence. [online image]. Available at: <http://www.artofthetitle.com/title/dr-no/> [Accessed 12 December 2013]. Figure 04 Reed, C. (1949) The Third Man, Titile Sequence. [online image]. Available at: <http://www.artofthetitle.com/title/the-third-man/> [Accessed 11 November 2013]. Figure 05 Bass, S. (1955) The Man with the Golden Arm, Titile Sequence. [online image]. Available at: <http://www.artofthetitle.com/title/the-man-with-the-golden-arm/> [Accessed 08 November 2013]. Figure 06 Cooper, K. (1995) Se7en, Titile Sequence. [online image]. Available at: <http://www.artofthetitle.com/title/se7en/> [Accessed 10 November 2013]. Figure 07 Kuntzel, O., Deygas, F. (1949) Catch Me if You Can, Titile Sequence. [online image]. Available at: <http://eng.designerbreak.com/2009/featured/the-art-of-titles/> [Accessed 22 November 2013]. Figure 08 Allen, W. (2012) To Rome With Love, Titile Sequence. [online image]. Available at: <http:// www.theempressofdress.com/2013/07/27/woody-allen-the-films/> [Accessed 08 January 2014]. Figure 09 Kubrick, S. (1980) The Shining, Titile Sequence. [online image]. Available at: <http://www. artofthetitle.com/title/the-shining/> [Accessed 18 December 2013].
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Acknowledgements Special acknowledgements on Mr. Christopher de Selincourt, my Dissertation tutor who has continuously supported and supervised the course of this study. I would also like to thank the staff of the BFi library for their friendly assistance. Finally, a special thanks to my family for their dedication and their support during my studies.
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Contents Page
Abstract
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List of Figures
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Acknowledgements
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1. Introduction
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2. Historical View
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2.1 Early Development
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2.2 Saul Bass Era
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2.3 Further Evolution
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3. Case Studies of Title Sequencing
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3.1 The Third Man
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3.2 The Man With The Golden Arm
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3.3 Se7en
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3.4 Catch Me If You Can
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4. Other Approaches
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5. Contemporary Trends
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6. Conclusion
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Bibliography
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Filmography
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1. Introduction
Saul Bass: My initial thoughts about what a title can do, was to set mood and the prime underlying core of the film’s story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it (Krasner, 2004, p. 38). A film title sequence is the opening part of the film, presenting its title, key production and cast members. Sometimes it does something more than presenting the film’s credits. It plays a vital role in priming us, in setting our mood as viewers of the film that follows. ‘A great title sequence sets an expectation. [...] you forget about everything else and you don’t want to be anywhere else but right here at this moment and it gets you excited’ (Kyle Cooper Interview, 2010, 00:55 min). My first source of inspiration is Saul Bass, a great graphic designer who made a major contribution in title sequence’s development. My second source of inspiration was the title sequence of Se7en (1995), created by another great designer, Kyle Cooper, who innovatively ‘updated’ title sequence. There seems to exist something else, apart from the graphic design competence, technical experience and high end finish in some of their title sequences. It is the famous quote by Saul Bass that synopsises it: ‘symbolize and summarize’ and it appears to be present in contemporary title sequences as well. Actually it appears to be one of the strongest ways to create a captivating title sequence. Moreover it is the most significant part of the great designers’ legacy as many current designers are influenced by it. Also it is a very challenging kind of title sequence, as it mostly implicates graphic design. The main theme and research question of this essay is the existence and role of symbolism and summarisation as expression means in film title sequence. There will be a historical review of title sequencing with examples. I will then present the examination of four case studies selected 01
from different chronological periods. My investigation will focus on symbolism and summarisation’s evidence and their involvement in creating a strong emotional reaction and introducing to the audience the ambiance of the movie. What connects these case studies is the gradual evolution of the involvement of symbolism and summarisation in different levels through time and design development. The area of my investigation will include and examine some title sequences without evidence of symbolism or summarisation. Finally there will be a conclusion on the value and contribution of symbolism and summarisation when utilised in the title sequence. For the purpose of the present essay, symbolism and summarisation have the following definitions. Symbolism, has the meaning of using symbols to represent the movie’s characters and plot in the title sequence. The representation through symbolism can be indirect and may not target the film’s narration or film’s people but the depiction of the emotional effect they create. The word symbol is used in a wide context and can be graphic, but it can also have the form of an image, human or animal figure, natural landscape or phenomenon, colour, or even sound and is used to convey the character, idea, fact or situation that it represents. Summarisation is the expression of the film or part of the film’ story or characters in a condensed and concise way. Summarisation can be achieved by descriptive or metaphorical techniques and sometimes it reduces the film’s core in a few defining images. Symbolism and summarisation can coexist in the same movie.
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2. Historical View Film title sequences have considerably changed over the last decades. They commenced as a presentation of the film’s factors and, following design, cultural and technical development, they have become more elaborate and sophisticated and often are among the most challenging parts of a movie. Through an interesting and creative historical process, film title sequence has grown and is elevated to an art form. We could split the history of title sequences in three periods:
2.1 Early Development The period between mid-1910s to 1954, when Saul Bass designed his first tile sequence for the movie Carmen Jones (1954), also known as ‘Studio Era’, was the time for the movie industry to expand (Alpha History). During the Studio years, the title sequence was a boring part of the movie and was called ‘popcorn time’ (Kirkham, 2011). In silent films titles were presented with a white type on a black background as title cards, including the main film credits (Braha & Byrne, 2011). Typography was the key issue, as the only means to reflect the film’s tone and genre. Some of the first title cards are the ones created by the film director D. W. Griffith. An example that stands out is Intolerance (1916), in which Griffith included for the first time his name on the cards as a signature.
Figure 01: Intolerance (1916) Title Sequence
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Director Stuart Blackton was among the first to create an animating title sequence in one of the first animation films, Humorous Phases of Funny Faces (1906). In the 1920s and 1930s some technological improvements such as synchronized sound and image and incorporating colours allowed further development (Braha & Byrne, 2011). A step forward in film titles is on the film The Women (1939), directed by George Cukor, where title cards became more detailed. In this case, we see a primary and a secondary title sequence. In the secondary the names of the actors are presented each one with a different title card along with a shot of an animal, which then transforms into a shot of the actual face of the actor. The animals, as symbols, are used to hint some of the characters of the main film’s characters. Some imaginative title sequences of this period are: City Lights (1931), King Kong (1933), The Wizard of Oz (1939), Spook Sport (1939) and The Third Man (1949) which I selected for a short analysis in the following chapter 4.1.
2.2 Saul Bass Era This period is named as the Saul Bass Era, due to the revolutionary impact of Saul Bass’s fascinating titles. When commercial television appeared as a competitor to cinema, a few seminal directors, including Otto Preminger, Where the Sidewalk Ends (1950) and Billy Wilder, Sunset Boulevard (1950) were searching for more interesting ways to open their films (Kirkham, 2011). At this time Saul Bass, the pioneer of film title sequence, appeared in the film industry. He himself explains the concept of his work ‘My position was that the film begins with the first frame and that the film should be doing a job at that point’ (Kirkham, 2011, p. 106). Saul Bass, often with assistance from his second wife Elaine Makatura, designed more than fifty opening sequences, in a period of forty years with directors like Otto Preminger, Alfred Hitchcock and Martin Scorsese in such films as The Man with the Golden Arm (1955), Vertigo (1958), Anatomy of a Murder (1959), Goodfellas (1990) (Kirkham, 2011).
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Martin Scorsese explains: Bass was instrumental in redefining the visual language of title sequences. His graphic compositions in movement, coupled with the musical score, function as a prologue to the movie; setting the tone, establishing the mood, and foreshadowing the action. His titles are not simply identification tags, but pieces that are integral to the work as a whole. When his work comes up on the screen, the movie truly begins (Meggs, 1997 cited in Braha & Byrne, 2011, pp. 49-50). Each of Bassâ&#x20AC;&#x2122;s opening sequences prepares the viewer for what is coming in the following film, getting him into the film. His works often consist of powerful messages or symbolisms that can be totally understood through the movie. For example in the title sequence of the film Anatomy of a Murder (1959) a black separated body, like a puzzle, is moving on and off the screen over the background of Duke Ellingtonâ&#x20AC;&#x2122;s Jazz music, evoking mystery and passing the idea of a murder. Another significant title is that of the film The Thomas Crown Affair (1968), in which, the title designer, Pablo Ferro introduced the multi-screen technique for the first time in title design.
Figure 02: The Thomas Crown Affair (1968) Title Sequence
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There are many interesting sequences of this era. We could site, among others, Stephen Frankfurtâ&#x20AC;&#x2122;s for the film To Kill a Mockingbird (1962), Friz Frelengâ&#x20AC;&#x2122;s opening cartoon for The Pink Panther (1963) and the Bond series. Maurice Binder, another key title designer, has designed 14 James Bond titles starting with the one of Dr. No (1962). The gun barrel sequence, originally designed in 1962, is the trademark displayed approximately in every James Bond films (Cork & Scivally, 2002). It features the silhouetted figure of 007 walking, turning around, and then shooting directly at the camera, leading to blood running down the screen. This sequence is totally giving to the audience an idea of what they are going to expect for the movie, it is a strong symbol.
Figure 03: 007 Gun Barrel (1968)
From this period I selected as a case study the title sequence by Saul Bass The Man with the Golden Arm (1955).
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2.3 Further Evolution In trying to describe title sequence in the modern world, we have of course to take into consideration the change that has occurred in design, typography and music. However the main influencing factor in modern title sequence is the advent of computers. As media technology and visual design tools have developed, many new artistic approaches are used by designers within the area of title sequence, leading to more creative works. This â&#x20AC;&#x2DC;next generationâ&#x20AC;&#x2122; starts from mid-1990s and title sequence evolves using new ideas. The digital era affects title sequencing so much, that it means sometimes that title designers are trying hard not to use computers, but hand made techniques in order to achieve a different and distinctive effect in their works. What Saul Bass started is continuing. The use of live action, imagery elements, typography and music are still present, together with computer graphics animation, special effects and other digital tools. Traditional techniques coexist with modern media in new imaginative title sequences. Se7en (1995) brought title sequencing to such a mature artistic integrity, that many critics have maintained that it has not been surpassed. Kyle Cooper is the designer of this revolutionary film title, carrying strong summarisation and symbols. Cooper created more than 150 film title sequences and is acclaimed as the most innovative and important designer of film titles since Saul Bass (Kodrington, 2003). Some of the most remarkable ones were The Island of Dr. Moreau (1996), Arlington Road (1999), Dawn of the Dead (2004), The Incredible Hulk (2008). A beautiful animated title sequence was designed by Danny Yount (creative director) and Kyle Cooper (executive producers) for the detective story Kiss Kiss Bang Bang (2005). Many other imaginative title sequences have been and are still designed. Some key designers are Susan Bradley [Toy Story (1995), Monsters, Inc. (2001), Ratatouille (2007)], Jay Johnson [Lost Highway (1997), Mulholland Dr. (2001)], Gaspar Noe [Irreversible (2002)], Daniel
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Kleinman [GoldenEye (1995), Casino Royale (2006), Skyfall (2012)], Michael Riley [Gattaca (1997), The Back-Up Plan (2010)]. From this period I chose two title sequences, Se7en (1995) by Kyle Cooper and Catch Me If You Can (2002) by Kuntzel and Deygas.
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3. Case Studies of Title Sequencing I chose to explore as case studies the following title sequences because each of them I think represents an interesting species of its era. The Third Man (1949) was picked because it has amazingly exploited music to fulfill the title sequenceâ&#x20AC;&#x2122;s role of introducing the film. The Man with the Golden Arm (1955) was chosen for the groundbreaking and seminal design of Saul Bass. Se7en (1995) is considered as a landmark of the contemporary title sequence design. Catch Me If You Can (2002) was selected for its artistic elegance, combining sixtiesâ&#x20AC;&#x2122; appeal with a refreshingly modern animation. All these case studies were chosen as they seem to have symbolisms and / or summarisation and they also showcase the escalation in symbolism and summarisation through time.
3.1 The Third Man (1949) In what is considered among the best film-noirs of all times, we have a truly remarkable title sequence. We may not have the setup of todayâ&#x20AC;&#x2122;s title sequence, but we have the basic outline that defines modern title sequencing. The stage in which the film takes place is postwar Vienna. This is not Vienna, as we know it now, civilized, affluent, thriving with people, one of the best cities to live in, nor the prewar capital, the centre of the Austroungarian Empire. It is a city destroyed by the war, divided in 4 sectors by the winners who appear to rule the city. But we do not know all that yet, the film has not started. Then the title sequence begins with a simple typography in a lined background that appears to be strings of a musical instrument perhaps, a lot of strings. Whatever doubts we may have on the nature of the lined background, they disappear when they start producing music. Carol Reed, the director of the movie, discovered in a wine bar in Vienna, Anton Karas, a zither player, the man who wrote the score of the title sequence and the music that characterizes the whole film (All Music). The zither, a multi string guitar like instrument with no neck
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(Encyclopedia Britannica) is the only background that we see in the title sequence. Carol Reed was fascinated by Karas, took him to England where Karas composed the music, that became the equivalent of a nr. 1 hit of the era, selling more than 500.000 records upon its release in 1949, a staggering amount for this era (Wellesnet, 2007). It is impressive that a film with so heavy credits (Carol Reed, Orson Welles, Joseph Cotton, Alida Valli, Trevor Howard and Screenwriter Graham Greene) owes a great part of its success to the humble musician Anton Karas (Art of the Title). This title sequence’ s typography and titles fading in and out are typical of the era. There is no imagery, except the zither’s strings.
Figure 04: The Third Man (1949) Title Sequence
So actually there remains one ingredient to make the title sequence interesting. Music. The zither music functions as a single, but multiple-tasks symbol for the whole film. The first symbolism is the stage, the city in which the film takes place. One would expect for Vienna a waltz being performed by a symphonic orchestra in the city’ s renowned concert halls. But the
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city is in poverty and crisis and what better way to depict that, than with a single instrument, played by a street musician. The second symbolism refers to the adventurers that are the main characters of the film: people in crisis, trying to survive after the war, willing to take risks, with week morals. Gypsy or eastern-European folk music always addresses ones’ lower instincts or so we are told. Despite the music being happy, airy and playful, there is an undertone of imminent danger. This creates the third symbolism, the mood for the film and its genre. The music captures that mixture of old world romance, naked opportunism, and quiet desperation that characterized the then-divided city. Like Vienna, the tune is immediately alluring and attractive, but despite that initial appeal, it hints that something very untoward, very wrong might be happening just out of sight (Art of the Title).
3.2 The Man With The Golden Arm (1955) The second film has one thing in common with my first pick, a list of heavy weights as major contributors i.e. Otto Preminger, Frank Sinatra and Elmer Bernstein. This time however there is an addition, Saul Bass. The film has a controversial subject, even by today’s standards. It was based on the novel of Nelson Algren. The hero, Frankie Machine, a former card’s dealer, returns to the slums of Chicago after a sentence at a federal narcotics’ detox hospital and strives for a better life. At the hospital he was given a set of drums and he dreams to work as a jazz drummer, while he struggles to overcome his heroin and gambling addictions. A film where the main character is a drug addict poses several issues for the director of the movie on how he is going to handle this controversial issue. There are technical, aesthetical and moral issues. These are some of the problems that Saul Bass faced. Saul Bass had already 2 film sequences behind him, both very impressive, Carmen Jones (1954) and The Seven Year Itch (1955). His
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approach was pioneering and unique. The title sequence starts with a white slim bar against a black background, a single bar in the beginning, which become two, three, four, six, vertical or horizontal, but always at slight angles, at different moments of the sequence. The bars function as a frame for the film’s credits that appear from the top or the bottom of the screen in a simple Sans Serif typography in motion. Leading names are in upper-case type and secondary are in lower-case, forming text blocks, harmonically synchronized with the jazz beats by Elmer Bernstein. At the end of the sequence there is again one single bar that gets thicker and vertical and finally transforms into an arm that freezes when the Director’s name appears across the centre of the screen, implying the Director’s main creative role. This jagged cutout paper arm is a strong visual symbol of the distortions that heroin brings to human bodies and lives.
Figure 05: The Man with the Golden Arm (1955) Title Sequence
As Saul Bass explained: The intent of this opening was to create a mood - spare, gaunt, with a driving intensity... [conveying] the distortion and jaggedness, the disconnectedness and disjointedness of the addict’s life - the subject of the film (Kirkham, 2011, p. 116). This distorted arm also symbolises the hero’s controversial and addicted personality. It could as well represent the drummer’s and the gambler’s significant part of the arm, which is the forearm.
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The title sequence’s appearing and disappearing white rectangular bars in a black background, before finally transforming into the film’s symbol, condense the film’s central theme and overall atmosphere. In perfect economy the designer summarises the central character into a graphic image, serving both as a symbol and the summary for his drug addiction. The film’s entire story and the hero’s character are synopsised and reflected in a plain, powerful and innovative metaphorical imagery.
3.3 Se7en (1995) Se7en (1995) belongs to a special genre of movies called serial killer movies and it is one of the best of its kind. Its title sequence by Kyle Cooper contributed to the success of the movie and was named by ‘The New York Times Magazine’ as ‘one of the most important innovations of the 1990s’ (Watch the Titles, 2009). The film starts with the introduction of the two detectives. The viewer who knows (by reviews, friends, publicity) that he will witness a series of awful murders is then introduced to evil. There is one main line of activity that we are going to watch in the title sequence. The protagonist initially (we never see him) removes the skin from his fingertips with a razor blade and has bandages on his hands. We see close-up shots of creating a handmade book, diary or log (as we watch the title sequence it becomes clear that there are plenty of books at play).
Figure 06: Se7en (1995) Title Sequence
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The method that this unknown person uses is collage. There is dense writing in capital letters, clipping from books, cutting the word GOD from a note, erasing words, processing analog films and placing the negatives in the log, clipping photographs and erasing eyes out of a face of a boy, adding new notes correcting old ones. The pictures that we see in this weird collage all point out to death. The title sequence scene is dark, mysterious, fast and upsetting. At first we think that the title sequence is filmed in black and white, but actually the film takes a brownish burnt colour and we see at some point the injection of a red fluid (blood?). Whoever is aware of the disturbing art of Joel-Peter Witkin can see the resemblances, if there is such a thing as Witkin colour and ambient feeling, then this is it. Things seem to decay, rot, have the colour of death (Witkin, 1998). It seems that early in the film, one of the designers, John Sable, spent $15,000 on old journals, ripped them up and sewed them back together by hand, then baked them to release that delicious tattered journal flavour. Sable found as many pictures of ‘mutilated limbs, decapitated people, people whose fingers had been sawn off’ as he could, and then he started writing like a maniac. So when production money run out, it took the genius of Cooper to use them (Sargent, 2011). It was the decision of the director not to show us who the murderer is until late in the film. So it was Kyle Cooper’s work, to show us John Doe through symbolism and summarisation in the title sequence. The symbols are abundant and leave us with a clenched stomach; it is in fact a representation that is better and more disturbing than seeing Kevin Spacey from the start. The first thing we know is that the serial killer is educated and clever, the handmade books point to that. The distorted hands point to a distorted soul. Removing tissue from ones’ fingerprints points to a guilty person trying to eliminate evidence. The razor and the needle point to violence. The red fluid points to blood. Pictures of children with their eyes erased portray them as victims. I believe Kevin Spacey has one of the most interesting faces in the film industry, yet Kyle Cooper through all these powerful symbols manages something unconceivable. An extremely dark short
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film (mention of NIN industrial music must not be forgotten), unsettling and unnerving that the viewer will not mind not being introduced to Kevin Spacey from the beginning, in fact he is so apprehensive of the murderers distorted soul, that he would rather postpone it. Summarisation in this title sequence focuses on John Doeâ&#x20AC;&#x2122;s character. Unnerving industrial music by Trent Reznor, close ups by the director, use of handwritten fonts, muddy colour tones, aggressive editing, all give us with such economy of means the portrait of a murderer that in my opinion it remains unsurpassed.
3.4 Catch Me If You Can (2002) My fourth choice is the title sequence for Catch Me if You Can (2002) by Kuntzel and Deygas (Art of the Title). In this Stephen Spielberg film we follow the career of artist-con man Frank Abagnale Jr. from 1963, when he is 16, to 1969, when he is arrested by F.B.I. and beyond. We follow Leonardo Di Caprio in a series of world-class cons, when he transforms himself into an airline pilot, an F.B.I. agent, a Harvard Medical School educated doctor and a qualified lawyer. In his 6-year international career Frank Jr. never forgets his first love for forging checks (IMDb). As the title sequence opens we see a figure approaching an airport. We see planes taking off and the man catches a glimpse of a new world to him, the world of pilots, airplanes, stewardesses and airports. The vertical barrier (fonts transformed into walls) that separates him from this world is crossed and he is transformed into a proud pilot (body language changes). At the same time the figure of a man (detective?) in civilian clothes emerges and starts to follow him. In this utterly stylish 60s representation we watch the hunt of Frank Jr. by Carl Hanratty in a series of animated transformations, as a doctor, a lawyer and ever escaping fugitive around the globe. Summarisation is the key in this animation. Practically in this 2:44 minute title sequence we have the essence of the whole film. In the first part we watch the adventures of the pilot - escape artist in an airport world. Luxury and indulgence are evident in the second part; the movie hero
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is successful in his cons and leads the life of a doctor. The strain of the hunt increases in the third part, the lawyer days of Frank Jr. The fourth part in an ever-escalating hunt narrates his life in France. The sequence ends with the hunter closing in at the fugitive. The are plenty of symbols. The fonts form barriers, walls and escaping ropes. There
are
revolving
doors. Everything moves and changes constantly, evoking the idea of pursuit and running away. Kuntzel and Deygas had in their hands a film that takes place in the 1960â&#x20AC;&#x2122;s. They chose a low technology approach using handmade
Figure 07: Catch Me if You Can (2002) Title Sequence
stamps with figures animated in the traditional way. Everything points to 60s simplicity and design. The jazz like score by John Williams creates the right atmosphere. The figures are lean, the women wear A-shaped dresses with long boots, the FBI agent wears a hat, the trousers are tight, the haircuts all have the 60s appeal, so do the furniture and the lighting. But the designers achieved something beyond this. The lines that work and create objects and streamline the story, the colours that were used have another hidden symbolism. They pay homage, without copying, to the man that gave title sequences the place they deserve in films, Saul Bass.
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4. Other Approaches There are plenty of examples of film title sequences, within the film industry without any symbolism and / or summarisation that are really interesting and noteworthy. Woody Allen is usually presenting the titles in a really simple way. An example is the title sequence of the film To Rome with Love (2012), where EF Windsor white typography is used on a black background, along with a great song by Paolo Conte. They are enough to connect the viewers to the filmâ&#x20AC;&#x2122;s atmosphere. The Windsor fonts are used in most Woody Allenâ&#x20AC;&#x2122;s films, being a part of his brand and visual identity.
Figure 08: To Rome With Love (2012) Title Sequence
Alien (1979) by Ridley Scott has a remarkably minimalistic opening sequence by the significant title designer Richard Greenberg. The sequence starts with the title letters appearing from the dark, as they form slowly from the outer to their centre, accompanied by the weird and frightening music composed by Jerry Goldsmith and performed by the National Philharmonic Orchestra. This effectively evokes suspense and horror to the audience. Both these title sequences do not employ symbolism or summarisation, but both have artistic merit and commercial success. One bears signature fonts by the Director and the other has a very distinctive font creation that captivates the viewer. The Shining (1980) is rated as one of the best horror films of all times and many mention its title sequence for its impact on the genre. On what is the dominating scenery of Saint Mary Lake in 17
Montana, we see a small yellow Beetle heading into the heart of the mountain. It is a lonesome journey on empty roads. There is no human presence and the very few cars that we see are either descending the mountain or stopped. The music, Dies Irae, a 13th century Latin hymn used in the Funeral Mass, recomposed by Wendy Carlos and Rachel Elkind, is haunting. Strict Helvetica fonts are used. There is a sense that the small yellow Beetle is heading for trouble.
Figure 09: The Shining (1980) Title Sequence
If one tries to characterise this beautiful title sequence, it is like a prologue to the film with no obvious summarisation or symbols. However the title sequence in this film narrates the trip of the yellow Beetle to the hotel, whereas the film narrates the path of Jack Nicholson to madness. Is this a summarisation of the film? Are the snow-caped mountains symbols of solitude? Is the curvy road a symbol of troubles lying ahead? Not in the exact sense. So in another type of title sequence summarisation and symbolism are not evident but they exist hidden to captivate the
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viewer’s mind. There are alternative routes to the title sequence’s success. Summarisation and symbolism can exist hidden or may not exist at all. Different directors use different ways to present their titles, depending on the genre, the rhythm, the style, and the tone of the film. They can use whatever means necessary to achieve the end result. There is no unique way to success. In the above three examples a title sequencer or director, apart from purely directing work, can influence fonts, music and the way that the title sequence is incorporated in the movie. Nobody can challenge that this approach can be a very successful one. These examples succeed to effectively introduce the audience to the film’s tone and genre.
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5. Contemporary Trends A lot of time has passed since Saul Bass designed The Man with the Golden Arm (1955) and Kyle Cooper took the concept several steps ahead by embodying the principles of Saul Bass’s work and adding pioneering work of his own. The role of the title sequence is enhanced in contemporary film industry. Due to the competing mediums and overabundant motion pictures, these first minutes of the film are often decisive to captivate the audience that often has to choose among a series of choices. Many contemporary directors seem to recognise that a successful title sequence is a key factor in their artistic effort and sometimes it contributes to its commercial success. It should be noted that there now exist special awards for title sequences, the most prestigious one being the ‘Ecellence in Title Design Award’ by SWSW (South by Southwest Festival’s Film Design awards). Symbolism and summarisation continue to be present in contemporary title sequences. Skyfall’ s (2012) title sequence by Daniel Kleinman is a remarkable example as it has a huge presence of transforming symbols: daggers that turn into gravestones, water into blood, gun battles between Bond and shadows of himself. Besides, the whole title sequence is a summarisation of Bond character, his memories from the past and fears for the future, his current feelings and subconscious.
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6. Conclusion This essay focused on title sequencing in films. There was a historical review of title sequencing with examples, trends and important creators in each one. The four title sequences that I selected to analyse followed this historical order. They were also very important examples in their era. However my point of view was not historical but focused on answering the research question: The role and significance of symbolism and summarisation. The choice of the 4 title sequences was made on their pioneering and increasing use of summarisation and symbolism. In the Third Man we saw the role of the music that functions as a symbol in the movie. Saul Bass creates a graphic symbol that summarises the key character in The Man with the Golden Arm. Se7en is a landmark title sequence, that fully uses these two means of expression and Catch Me If You Can brings an air of artistic refinement with its animated symbols and plot synopsis. The importance and influence of these two means of expression was highlighted. Are symbolism and summarisation the only approaches to title sequencing? Of course not, as was shown with the examination of the 3 films in chapter 4. Masterpieces are created through use of music, fonts and imaginative presentation of contributing factors. In comparison, in the examples of the case studies examined, symbolism and / or summarisation were more or less implicated. The full impact is seen in Se7en and Catch Me If You Canâ&#x20AC;&#x2122;s title sequences. The amount, the quality and the detailed work that has gone in these two title sequences are amazing. The title sequencer chose to work with symbols (either animated or graphic) and also narrates a part of the filmâ&#x20AC;&#x2122;s story or a character. The use however of summarisation and symbols in such a short time that is allocated to title sequences poses a different level of difficulty. The work of the title designer becomes very challenging. Symbolism and summarisation as means of expression elevate title sequencing on a different level. Their implementation is demanding and when this is successful we can talk for work of art. Title designers of this kind are influenced by great works like Se7en and influence
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others. In Conclison, if we attempt to consider the film title sequence as a wholesome entity, as a demanding part of the film, in the contemporary competing film industry, the title sequences that are most challenging artistically, technically and commercially are those mastering summarisation and symbols. When such a title sequence succeeds, it contributes to the audience enjoyment of an entire film watching experience.
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Bibliography A. Articles Kirkham, P. (1996) Saul Bass and Billy Wilder: In Conversation. Slight and Sound. Vol. 5, pp. 18-21. Kirkham, P. (1994) Looking for the Simple Idea. Slight and Sound. Vol. 4, pp. 16-20. Stanitzek, G. Aplevich, N. (2009) Reading the Title Sequence. Cinema Journal. Vol. 48, pp. 44-58. (2004) Bass Instict. Creative Review. Vol 24 (7), p. 47. B. Books Algren, N. (1987) The Man with the Golden Arm. New York: Doubleday & Co, Inc. Bass, J., Kirkham, P. (2001) Saul Bass: A Life in Film & Design. London: Laurence KingPublishing Ltd. Braha, Y., Byrne, B. (2011) Creative Motion Graphic: Titling for Film, Video & the Web. Oxford: Elsevier Inc. Cork, J., Scivally, B. (2002) James Bond: The Legacy 007. New York: Ambras. Crook, G. (1986) The Changing Image: Television Graphics from Caption Card to Computer. London: Robots Press. Curran, S. (2000) Motion Graphics: Graphic Design for Broadcast and Film. Gloucester, Massachusetts: Rockport Publishers. Hallas, J. (1981) Graphics in Motion: From the Special Effects Film to Holographics. Munich: Novum Press. Heller, S., Fernandes, T. (2010) Becoming a Graphic Designer: A Guide to Careers in Design. 3rd ed. New York: John Willey & Sons, Inc. Kawin, Bruce F. (1992) How movies work. Berkeley: University of California Press. Kodrington, A. (2003) Kyle Cooper: Monographics. London: Yale University Press Krasner, J. (2004) Motion Graphic Design Fine Art Animation: Principles and Practice. Oxford: Focal Press.
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Solana, G., Boneu, A. (2007) The Art of the Title Sequence: Film Graphics in Motion. USA: Collins Design. Wees, William C. (1992) Light Moving in Time: Studies in the Visual Aesthetics of AvantGarde Film. Berkeley: University of California Press. Witkin, J. (1998) The Bone House. New Mexico: Twin Palms Publishers. Woolman, M., Bellantoni J. (2000) Moving Type: Designing for Time and Space. Switzerland: RotoVision SA. Woolman, M., Bellantoni J. (1999) Innovations in Digital Graphics. New York: Rizzioli International Publications. C. Internet Resources <http://dictionary.babylon.com/> [Accessed 18 September 2013]. <http://alphahistory.com/weimargermany/weimar-cinema/> [Accessed 20 September 2013]. <http://www.cracked.com/article_19562_7-movies-that-put-insane-work-into-details -you-didnt-notice_p2.html> [Accessed 10 November 2013]. <http://motional.net/articles/saul-bass-inspired-sequences#.Unp7OBZpt-U> [Accessed 12 November 2013]. <http://designmuseum.org/design/saul-bass> [Accessed 18 November 2013]. <http://37signals.com/svn/posts/917-title-sequences-from-saul-bass-the-master-of-film-titledesign> [Accessed 10 December 2013]. <http://www.criticalcommons.org/Members/ccManager/commentaries/legacy-of-saul-bass-intitle- sequences> [Accessed 11 December 2013]. <http://www.criterion.com/current/posts/482-listening-to-the-third-man> [Accessed 18 December 2013]. <http://www.billboard.com/artist/279718/anton-karas/biography> [Accessed 18 December 2013]. <http://www.allmusic.com/artist/anton-karasmn0000024640/discography> [Accessed 18 December 2013]. <http://www.moviemaker.com/articles-editing/using-movie-title-sequenceseffectively-20071227/> [Accessed 20 December 2013].
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<http://www.imdb.com/> [Accessed 22 December 2013]. <http://annyas.com/screenshots/saul-bass-title-sequences/> [Accessed 02 January 2014]. <http://www.watchthetitles.com/> [Accessed 10 January 2014]. <http://www.artofthetitle.com/designer/saul-bass/titles/> [Accessed 20 January 2014]. 4. Audio-visual sources Kyle Cooper Interview. (2009) Directed by Femke Wolting and Remco Vlaanderen. Los Angeles: SubmarineChannel.com Bass on Titles. (1977) Directed by Herbert Yager. USA: Pyramid Films
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Filmography
Film
Director
Year
Title Designer
Alien
Ridley Scott
1979
Richard Greenberg
Anatomy of a Murder
Otto Preminger
1959
Saul Bass
Arlington Road
Mark Pellington
1999
Kyle Cooper
Batman
Tim Burton
1989
Richard Morrison
Carmen Jones
Otto Preminger
1954
Saul Bass
Catch Me If You Can
Steven Spielberg
2002
Kuntzel and Deygas
Casino
Martin Scorsese
1995
Saul Bass
Casino Royale
Martin Campbell
2006
Daniel Kleinman
City Lights
Charles Chaplin
1931
-
Dawn of the Dead
Zack Snyder
2004
Kyle Cooper
Dr. No
Terence Young
1962
Maurice Binder
Gattaca
Andrew Niccol
1997
Michael Riley
Goldfinger
Guy Hamilton
1964
Robert Brownjohn
GoldenEye
Martin Campbell
1995
Daniel Kleinman
Goodfellas
Martin Scorsese
1990
Saul Bass
Grand Prix
John Frankenheimer
1966
Saul Bass
Humorous Phases of Funny Faces J. Stuart Blackton
1906
-
Intolerance
D.W. Griffith
1916
D.W. Griffith
Irreversible
Gaspar Noé
2002
Gaspar Noé
King Kong
Merian C. Cooper
1933
-
Kiss Kiss Bang Bang
Shane Black
2005
Kyle Cooper
Lost Highway
David Lynch
1997
Jay Johnson
Monsters, Inc.
Pete Docter
2001
Susan Bradley
Mulholland Dr.
David Lynch
2001
Jay Johnson
North by Northwest
Alfred Hitchcock
1959
Saul Bass
26
Film
Director
Year
Title Designer
Oceanâ&#x20AC;&#x2122;s Eleven
Lewis Milestone
1960
Saul Bass
Psycho
Alfred Hitchcock
1960
Saul Bass
Ratatouille
Brad Bird
2007
Susan Bradley
Se7en
David Fincher
1995
Kyle Cooper
Skyfall
Sam Mendes
2012
Daniel Kleinman
Spook Sport
Mary Ellen Bute
1939
-
Sunset Boulevard
Billy Wilder
1950
-
The Back-up Plan
Alan Poul
2010
Michael Riley
The Girl with the Dragon Tatoo
David Fincher
2011
Neil Kellerhouse
The Incredible Hulk
Louis Leterrier
2008
Kyle Cooper
The Island of Dr. Moreau
John Frankenheimer
1996
Kyle Cooper
The Man With The Golden Arm
Otto Preminger
1955
Saul Bass
The Pink Panther
Blake Edwards
1963
Friz Freleng
The Third Man
Carol Reed
1949
-
The Thomas Crown Affair
Norman Jewison
1968
Pablo Ferro
The Shining
Stanley Kubrick
1980
-
The Seven Year Itch
Billy Wilder
1955
Saul Bass
The Wizard of Oz
Victor Fleming
1939
-
The Women
George Cukor
1939
-
To Kill a Mockingbird
Robert Mulligan
1962
Stephen Frankfurt
To Rome With Love
Woody Allen
2012
-
Toy Story
John Lasseter
1995
Susan Bradley
Walk on the Wild Side
Edward Dmytryk
1962
Saul Bass
Where the Sidewalk Ends
Otto Preminger
1950
-
27