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Titel Sequences Medientechnik First Bachelor Thesis The Title Sequence A film-within-a-film Completed with the aim of graduating with a Bachelor of Science in Engineering From the St. Pölten University of Applied Sciences Media Technology degree course Under the supervision of Mario Zeller Completed by Angelika Schneider mt0810261088 St. Pölten, on 01. 07. 2010 Schneider Angelika, mt0810261088 Medientechnik Declaration • the attached research paper is my own, original work undertaken in partial fulfilment of my degree. • I have made no use of sources, materials or assistance other than those which have been openly and fully acknowledged in the text. If any part of another person’s work has been quoted, this either appears in inverted commas or (if beyond a few lines) is indented. • Any direct quotation or source of ideas has been identified in the text by author, date, and page number(s) immediately after such an item, and full details are provided in a reference list at the end of the text. • I understand that any breach of the fair practice regulations may result in a mark of zero for this research paper and that it could also involve other repercussions. • I understand also that too great a reliance on the work of others may lead to a low mark. Day Undersign Schneider Angelika, mt0810261088 II Medientechnik Abstract This bachelor thesis has the aim to analyse title sequences of American and European motion picture. Starting with the historical background of opening credits, this paper focuses on their development through decades of technical changes and stylistic influences. This should reveal groundbreaking main titles and their designers which set historical milestones. Based on this results the paper analyses the success of outstanding designers and their work. The last part of the paper focuses on the connection between title sequences and film genres. This analysis was carried out for several reasons. Beside a personal interest, it seems important before starting with your own opening sequences to get an idea, which standards have developed and why. Furthermore it makes sense to look up the most successful works and read how their designers have created them. This could be helpful on the one hand and inspiring on the other hand. Writing this thesis it was useful to read the spare literature which is available about this topic at first. From there I searched for title sequences mentioned in these books and quickly found some websites which focused on opening sequences. There I were able to find interviews with designers and additional information. In the last chapter I defined the criteria for a main title analysis. Then I used these yardsticks to deconstruct classic romance, action and horror/thriller movies to answer the question whether there is a connection between title sequences and genre or not. Summing up this thesis shows that creating the right mood for the movie, and that includes disclosing the genre of the upcoming motion picture, is the most important step to a successful title sequence. Schneider Angelika, mt0810261088 III Medientechnik Table of Contents Declaration ............................................................................................................................... II Abstract .................................................................................................................................... III Table of Content ....................................................................................................................... IV INTRODUCTION ...................................................................................................................... 1 1. DEFINITIONS ........................................................................................................ 2 2. MILESTONES IN THE HISTORY OF TITLE SEQUENCES ....................................... 4 2.1 PRE TITLE SEQUENCE ERA ........................................................................................................ 4 2.2 ONCE UPON A TIME… ..................................................................................................................4 2.3 COLOUR AND SOUND ................................................................................................................. 6 2.4 TITLE DESIGN STUDIOS .............................................................................................................. 7 2.5 TITLE DESIGN AS AN ART FORM ................................................................................................ 8 2.6 THE COMPUTER REVOLUTION ................................................................................................. 9 2.7 RETROSPECTION AND FORECAST ............................................................................................11 2.8 LEGAL REGULATION OF CREDITS ............................................................................................ 12 3. MILESTONES OF SUCCESS ........................................................................................ 13 3.1 SAUL BASS .................................................................................................................................... 13 3.2 PABLO FERRO .............................................................................................................................. 15 3.3 KYLE COOPER .............................................................................................................................. 17 3.4 COMPARISON................................................................................................................................ 18 4. GENRE AND TITLE DESIGN ......................................................................................... 19 4.1 PREPAIRING THE ANALYSIS ....................................................................................................... 19 4.1.1 TYPEFACES .................................................................................................................... 19 4.1.2 COLOUR .......................................................................................................................... 22 4.1.3 TECHNIC ........................................................................................................................ 23 4.1.4 COMBINING CREDITS AND PICTURE .......................................................................... 23 4.1.5 COMBINING TITLE SEQUENCES AND DIEGESIS ....................................................... 24 4.2 THE ANALYSE ............................................................................................................................... 25 4.1.1 ROMANCE ....................................................................................................................... 25 4.1.2 ACTION ........................................................................................................................... 26 4.1.3 HORROR/ THRILLER ..................................................................................................... 28 4.3 RESULT ..........................................................................................................................................29 5. CONCLUSION .................................................................................................................. 30 References ............................................................................................................................... 31 List of figures ............................................................................................................................ 36 Appendix .................................................................................................................................. A List of Films ......................................................................................................................... 38 Schneider Angelika, mt0810261088 IV Medientechnik INTRODUCTION “ Es ist der Vorspann, der den Eintritt des Zuschauers in die Fiktion überhaupt erst ermöglicht.” Roger Odin (Böhnke/ Hüser/ Stanitzek 2006, cover inside) This Odin quote could be rendered in English as “ A film needs the title sequence to lead the audience into the fiction” and can be seen as the basic principle of this paper. Furthermore Stanitzek writes in his article Vorspann “wenn irgendein Filmschnipsel mikrologische > Andacht zum Unbedeutenden < verdient, dann ist es dieser - maxima in minimis.” (Stanitzek 2006, p.20). This could be rendered as: “If there is some small piece of a film which is worth to be examined carefully, then it is the title sequence.”, and that describes what this paper is all about. The title sequence is a film-within-a-film which has two aims to reach. First it has to clear the copyright issues and thereby tells you something about the production of the motion picture. Secondly it has to take over the introduction part of the movie and to bring you in the right mood for the following film. Inwardly it also raises your expectations for the upcoming motion picture. Even films like FILM OHNE TITEL (1947) or APOCALYPSE NOW (1979) where the directors have refused to use credits and titles have an opening sequence which is in many aspects similar with those of common title sequences. For example in APOCALYPSE NOW the images combined with a song by The Doors take over the function to bring the audience in the right mood and to externalize the genre of the movie. The refusal of showing credits or titles just gets it's quality and attention through
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