DOCSLIB.ORG

Knowing That Nothing Is More Universally Recognizable Than

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Knowing That Nothing Is More Universally Recognizable Than T.C. DOKUZ EYLÜL ÜNİVERSİTESİ GÜZEL SANATLAR ENSTİTÜSÜ GRAFİK ANASANAT DALI YÜKSEK LİSANS TEZİ BİR GÖRSEL İLETİŞİM ALANI OLARAK FİLM JENERİKLERİ VE GRAFİK TASARIMCI SAUL BASS’İN YAKLAŞIMI Hazırlayan Ayşegül Pınar TUĞAN Danışman Yrd. Doç. Tuğcan GÜLER İZMİR - 2012 YEMİN METNİ Yüksek Lisans Tezi olarak sunduğum “Bir Görsel İletişim Alanı Olarak Film Jenerikleri ve Grafik Tasarımcı Saul Bass’in Yaklaşımı” adlı çalışmanın, tarafımdan, bilimsel ahlak ve geleneklere aykırı düşecek bir yardıma başvurmaksızın yazıldığını ve yararlandığım eserlerin bibliyografyada gösterilenlerden oluştuğunu, bunlara atıf yapılarak yararlanılmış olduğunu belirtir ve bunu onurumla doğrularım. … /… / 2012 Ayşegül Pınar TUĞAN ii iii YÜKSEKÖĞRETİM KURULU DOKÜMANTASYON MERKEZİ TEZ/PROJE VERİ FORMU Tez/Proje No: Konu Kodu: Üniv. Kodu: · Not: Bu bölüm merkezimiz tarafından doldurulacaktır. Tez/Proje Yazarının Soyadı: TUĞAN Adı: Ayşegül Pınar Tezin/Projenin Türkçe Adı: Bir Görsel İletişim Alanı Olarak Film Jenerikleri ve Grafik Tasarımcı Saul Bass’in Yaklaşımı Tezin/Projenin Yabancı Dildeki Adı: Film Title Sequence as a Field of Visual Communication and Graphic Designer Saul Bass’s Approach Tezin/Projenin Yapıldığı Üniversitesi: D.E.Ü. Enstitü: G.S.E. Yıl: 2012 Tezin/Projenin Türü: Yüksek Lisans: X Dili: Türkçe Doktora: Sayfa Sayısı: 149 Tıpta Uzmanlık: Referans Sayısı: 56 Sanatta Yeterlilik: Tez/Proje Danışmanlarının Ünvanı: Yrd. Doç. Adı: Tuğcan Soyadı: GÜLER Türkçe Anahtar Kelimeler: İngilizce Anahtar Kelimeler: 1- Grafik Tasarım 1- Graphic Design 2- Görsel İletişim 2- Visual Communication 3- Film Jeneriği Tasarımı 3- Film Title Design 4- Saul Bass 4- Saul Bass Tarih: …. / … / 2012 İmza: Tezimin Erişim Sayfasında Yayınlanmasını İstiyorum Evet X Hayır iv ÖZET Grafik tasarım ve sinemanın kesişim noktası olan film jenerikleri, bugün görsel iletişim prensiplerinin sinema diliyle bütünleşerek sinema sanatının içinde kendine yer bulduğu başlı başına bir alan haline gelmiştir. Açılış jenerikleri, başlangıçta yalnızca sinema sanatını icra eden yönetmen ve oyuncuların isimlerini duyurmak için sıralanan başlık kartları halindeyken, günümüzde hikayesel anlatıya katkıları paralelinde sinemanın ayrılmaz bir parçası durumundadır. “Bir Görsel İletişim Alanı Olarak Film Jenerikleri ve Grafik Tasarımcı Saul Bass’in Yaklaşımı” başlıklı tez çalışması, sinema sanatının içinde grafik tasarımın varoluş sürecini konu almaktadır. İncelemenin ilk bölümünde film jenerik tasarımına dair tanımlamalar ve sınıflandırmalara gidilmiştir. Jenerik tasarımının işlevsel özellikleri, sinema sanatı içinde gereklilik seviyesinde sorgulanmış, izleyici algısını şekillendirme konusunda mecranın yeterliliklerine değinilmiştir. Sonrasında inceleme, jenerik tasarımının film tarihiyle paralel serüvenini, sektörel ve teknolojik gelişmeler bağlamında ortaya koyarak devam etmektedir. Bu süreçte jenerik tasarımını medya olarak şekillendiren, öncü üç tasarımcı, Saul Bass, Pablo Ferro ve Kyle Cooper’ın tasarımlarına odaklanılmış, sektöre kazandırdıkları yenilikler çerçevesinde özgün üretimlerine yer verilmiştir. Jenerik tasarımında sıklıkla kullanılan anlatım türleri ve üretime dair spesifik bilgiler yine bu bölümde okuyucuya sunulmaktadır. İkinci bölümde grafik tasarımcı Saul Bass’in biyografisi, tasarım anlayışının karakteristik özellikleri ve jenerik tasarımına getirdiği yeni anlayış, literatür incelemelerinden yararlanılarak aktarılmaktadır. Devamında tasarımcının üretimlerinden öne çıkan beş film jeneriği, film müziği seçiminden, tasarımı oluşturan plastik öğeler ve gösterge kurgusuna kadar analiz edilmiş, tasarımcının profesyonel gelişimi kronolojik olarak incelenmiştir. Tezin üçüncü bölümü ise, inceleme sonucunda edindiğim bilgiler ve bakış açısıyla oluşturduğum uygulama çalışmalarına ayrılmıştır. v ABSTRACT Film title sequence, as the junction point of graphic design and cinema, became a field stands on its own today with the principles of communication integrates to the language of cinema. At the first beginning, Opening credits were kind of title cards for announcing the names of director and actors who performs in the movie, but today they became an integral part of the movie by contributing to it in the narative layer. The present study, titled “Film Title Sequence as a Field of Visual Communication and Graphic Designer Saul Bass’s Approach”, focuses on the existence process of graphic design in cinema art. The first chapter of study comprise some definitions and classifications on the subject of title sequence design. Functional features of title sequences will be examined at the level of requirement for the cinema art and media will be discussed as the capability on shaping the perception of audience. On the process, approach has been improved on examining the development of title sequence design, parallels to the history of movies by the context of sectoral and technological developments. Near that the unique works of three featured designers Saul Bass, Pablo Ferro and Kyle Cooper, who shapes the credit design as a media at the process, had been analysed under the spotlight. The Second chapter contains the study about graphic designer Saul Bass; his biography, characteristics of his design attitude and his unique approach to the title sequence design had been scrutinized by using literature reviews. And it follows with five of his distinct title designs; they had been analysed semantically through plastic items to the choice of score and the professional progress of the designer had been scrutinized chronologically. The third part of the thesis had been allocated to the practical projects which is composed through my knowlage and perspective that I created as a result of the research. vi ÖNSÖZ Film jenerik tasarımının sinema anlatısına katkıları paralelinde öne çıkan işlevsel özelliklerini vurgulamak, ortaya konan ürünler üzerinden tasarım üretimine dair doğrular ve yanlışları saptamak, objektif değerlendirmelerle semantik analizler yapmak ve edinilen sonuca göre önerilerde bulunmak bu incelemenin hedefidir. Bu sayfa aracılığıyla akademik eğitim hayatım boyunca ve bu çalışma için araştırma yaparken destek gördüğüm birkaç isime teşekkürlerimi iletmek isterim. Başlangıçta araştırmamın temel kaynaklarından biri olan, ancak internet ortamında yayında olmayan doktora tezini (elektronik posta yoluyla ulaşarak ettiğim ricayı kırmayıp) yararlanabilmem için bana ulaştıran akademisyen Deborah Allison’a teşekkür etmek isterim; desteği ile konuya yaklaşım anlamında izlemem gereken yolu sistemli şekilde planlayabildim. Öte yandan Yüksek Lisans eğitimim boyunca tasarım ürününe analitik bakış açısıyla yaklaşma, çok yönlü eleştiri alışkanlığı geliştirmeme yardımcı olan Prof. Dr. Yakup Öztuna’ya ve yaratıcı proje önerileri ve eşsiz rasyonel eleştirileriyle yolumu aydınlattığı için değerli danışman hocam Yrd. Doç. Tuğcan Güler’e sonsuz teşekkürlerimi sunarım. Ayrıca görev yaptığım Çukurova Üniversitesi Güzel Sanatlar Fakültesi Öğretim elemanları Yrd. Doç. Oya Aygün ve Metin Aygün’e anlayışları ve sundukları sağlıklı çalışma ortamı için teşekkür ederim. Yoğun çalışma koşullarımda sabırla beni destekledikleri, koşulsuz sevgilerini ve maddi manevi her türlü desteği ihtiyacım olan her an bana sundukları için sevgili annem ve babam Günay - Turan TUĞAN’a duyduğum minneti iletmek isterim. Sağduyulu bir insan ve düşünebilen bir birey olmamı sağlayan ebeveynler olarak onlara sunacağım teşekkür yetersiz kalır. Çalışmamın bu alanda üretim sağlayacak genç tasarımcılara yeni bir bakış açısı ve akıl yürütme pratiği sağlaması dileğiyle… Ayşegül Pınar TUĞAN vii İÇİNDEKİLER BİR GÖRSEL İLETİŞİM ALANI OLARAK FİLM JENERİKLERİ VE TASARIMCI SAUL BASS’İN YAKLAŞIMI YEMİN METNİ .........................................................................................................ii TUTANAK …............................................................................................................iii YÖK DÖKÜMANTASYON FORMU ......................................................................iv ÖZET............................................................................................................................v ABSTRACT................................................................................................................vi ÖNSÖZ ......................................................................................................................vii İÇİNDEKİLER .........................................................................................................viii RESİM LİSTESİ ………………………………………………………………… …xi GİRİŞ........................................................................................................................... 1 BİRİNCİ BÖLÜM: FİLM JENERİK TASARIMI ÖZELLİKLERİ VE GELİŞİMİ 1.1. FİLM JENERİK TASARIMI . 5 1.1.1. Film Jeneriğinin Tanımı . .5 1.1.2. Film Jeneriğinin İşlevi . 7 1.2. FİLM JENERİK TASARIMININ TARİHSEL GELİŞİMİ . 11 1.2.1. Sessiz Sinema Dönemi (1900-1930) . 11 1.2.2. Hollywood Stüdyo Devri (1930-1955) . 14 1.2.3. Savaş Sonrası Dönemde Amerikan Sineması(1955-1980) . 18 1.2.4. Tüketim Kültürü ve Dijital Teknolojinin Etkileri(1980- ..) . 30 viii 1.3. FİLM JENERİĞİ TÜRLERİ . 35 1.3.1. Boş arkaplan Üzerine Süperimpoze . 36 1.3.2. Kitap Sayfası Kurgusu . .36 1.3.3. Gerçek Görüntü Üzerine Süperimpoze . 37 1.3.4. Karakter Tanıtımı Kurgusu . 38 1.3.5. Tipografik Kurgu . 39 1.3.6. Animasyon ve Hareketli Grafik kurgusu . 40 1.4. JENERİKLERİN FİLM İÇİNDE KONUMLANDIRILMASI . 43 1.4.1. Filmin Başında Yer Alan . 44 1.4.2. Kısa Bir Başlangıcın Ardından Gösterilen . 48 1.4.3.Filmin Sonuna
Load more

Recommended publications
  • Department of Art & Design
    Duncanrig Secondary School Department of Art&Design Art & Design Studies N4/5 Outcome 1: Art & Design Studies Learner’s Design Booklet Graphic Describe the things that have inspired and influenced Design designers and their work by: N4 1.1 Describing how designers use design materials, techniques and/or technology in their work N4 1.2 Describing the things that have influenced these designers and the work they produce N4 1.3 Expressing facts and personal opinions about the designers’ work A study of Saul Bass (1920 – 1996) CLICK ON LINK BELOW TO VIEW RELEVANT IMAGES http://designobserver.com/media/images/Saul-Bass-Pat-Kirkham-6_525.jpg http://www.saulbassposterarchive.com/wordpress/wp-content/uploads/2013/05/13_Environment-71.jpg http://illusion.scene360.com/wp-content/uploads/2013/11/saul-bass-movie-poster-07.jpg http://annyas.com/images/saul-bass/saul-bass-anatomy-of-a-murder-24-sheet.jpg What is Graphic Design? Suppose you want to announce or sell something, amuse or persuade someone, explain a complicated system or demonstrate a process. In other words, you have a message you want to communicate. How do you “send” it? Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you’re wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure. Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience.
    [Show full text]
  • Master Class with Film Title Designer Karin Fong: Selected Filmography of Saul Bass (1920-1996) Title Designs
    Master Class with Film Title Designer Karin Fong: Selected Filmography of Saul Bass (1920-1996) Title Designs *title sequence available to view online at The Art of the Title (http://www.artofthetitle.com) Casino. Dir. Martin Scorsese, 1995, U.S.A. and France. 178 mins. Production Co.: Universal Pictures / Syalis S.A. / Légende Enterprises / De Fina-Cappa. The Age of Innocence. Dir. Martin Scorsese, 1993, U.S.A. 139 mins. Production Co.: Cappa Production / Columbia Pictures Corporation. Mr. Saturday Night. Dir. Billy Crystal, 1992, U.S.A. 119 mins. Production Co.: Castle Rock Entertainment / Face Productions / New Line Cinema. Cape Fear. Dir. Martin Scorsese, 1991, U.S.A. 128 mins. Production Co.: Amblin Entertainment / Cappa Films / Tribeca Productions. Doc Hollywood. Dir. Michael Caton-Jones, 1991, U.S.A. 104 mins. Production Co.: Warner Bros. Pictures. Preminger: Anatomy of a Filmmaker. Dir. Valerie A. Robins, 1991, Austria and U.S.A. 123 mins. Production Co.: Österreichischer Rundfunk. Goodfellas. Dir. Martin Scorsese, 1990, U.S.A. 146 mins. Production Co.: Warner Bros. Pictures. *War of the Roses. Dir. Danny DeVito, 1989, U.S.A. 116 mins. Production Co.: Gracie Films / Twentieth Century Fox Film Corporation. Big. Dir. Penny Marshall, 1988, U.S.A. 104 mins. Production Co.: Gracie Films / Twentieth Century Fox Film Corporation. Broadcast News. Dir. James L. Brooks, 1987, U.S.A. 133 mins. Production Co.: Amercent Films / American Entertainment Partners L.P. / Gracie Films / Twentieth Century Fox Film Corporation. Notes on the Popular Arts. Dirs. Saul Bass and Elaine Bass, 1978, U.S.A. 20 mins. Production Co.: Warner Bros.
    [Show full text]
  • En Pos De La Idea Sencilla Pat Kirkham Traducción ANA USEROS
    CBA SAUL BASS 17 Pat Kirkham, profesora de Estudio del Diseño, Artes decorativas y Estudios culturales en Nueva York, desgrana en este artículo las principales claves del trabajo y del éxito de los diseños para el cine de Saul Bass, así como los rasgos más importantes y distintivos de su personal estilo y los motivos por los que, tras casi veinte años de «fundido en negro», como él mismo lo definió, su carrera volvió a revitalizarse. Kirkham pone además de relieve la importantísima figura de su esposa, Elaine Bass, que trabajó con él estrechamente desde los años sesenta, una excelente profesional cuya sensibilidad e intuiciones resultaron decisivas en multitud de trabajos conjuntos, pero que se mantuvo siempre, modesta y discretamente, en un papel secundario. en pos de la idea sencilla Pat KirKham TRADUCCIóN AnA USEROS La obra de Saul Bass abanderó una revolución en el diseño de los títulos y de las secuencias de títulos de crédito cinematográficas. Es el diseñador más famoso de estas secuencias de la historia de Hollywood y dejó su sello y su estilo característico en el comienzo de las películas (así como en carteles, dossieres de prensa y logotipos) durante más o menos una docena de años desde 1954, año en el que animó el símbolo publicitario que había creado para Carmen Jones, de Otto Preminger. Bass, que trabaja junto con su esposa, Elaine, y que ha vuelto hace poco a diseñar secuencias de títulos de crédito, no sólo aportó la unidad visual a la publicidad y cartelería de una película, sino que alteró radicalmente el papel asignado al diseño del título y de los títulos de crédito de una película, convirtiéndolos en parte integral de la misma y empleándolos para establecer el tono y buscar el compromiso del público desde los fotogramas iniciales.
    [Show full text]
  • „Filmtitelgestaltung. Bewegte Typografie Und Grafikdesign Im Film an Beispielen Saul Bass’“
    DIPLOMARBEIT Titel der Diplomarbeit „Filmtitelgestaltung. Bewegte Typografie und Grafikdesign im Film an Beispielen Saul Bass’“ Verfasserin Verena Blöchl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Mag. Dr. Otto Mörth Eidesstattliche Erklärung Ich erkläre hiermit an Eides Statt, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus fremden Quellen direkt oder indirekt übernommenen Gedanken sind als solche kenntlich gemacht. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt und auch noch nicht veröffentlicht. Ort, Datum Unterschrift 3 Danksagung Mein äußerster Dank gilt Herrn Mag. Dr. Otto Mörth für die wertvolle Unterstützung und Zusammenarbeit. Ich bedanke mich herzlich bei meiner Familie, die mir während des Studiums unterstützend zur Seite stand. Besonderen Dank an Lena Huber-Huber für ihre kompetente Beratung bei grammatikalischen und stilistischen Fragen. Ein großes Dankeschön auch an Adrian Hügel für die moralische Unterstützung während der Erstellung dieser Arbeit. Des Weiteren bedanke ich mich bei Anselm Tröster für das große Interesse an meinem Thema und die motivierenden Worte. 5 Abstract / deutsch Diese Arbeit behandelt das Zusammenspiel von Typografie und Grafikdesign in Film- titelsequenzen und die Qualitäten, die daraus für die Filmerfahrung entstehen. Mit der vielfältigen Formensprache im Vorspann entstehen unterschiedliche Funktionen für die Filmrezeption, die ich exemplarisch an neun ausgewählten Werken von Saul Bass untersuche. Der Grafikdesigner und Regisseur leistete ab den 50er-Jahren einen bemerkenswerten Beitrag zur Entwicklung des Vorspanns. Er trug dazu bei, dass Filmtiteldesign als integraler Bestandteil der Filmstruktur aufgefasst wird.
    [Show full text]
  • Biography Winning Academy Award for His Promotional Purposes
    Saul Bass was a prominent worked as a freelancer for se- American graphic designer veral advertising companies and of the twentieth-century. He agencies, including the illustrious largely designed motion pictu- Warner Bros. re title sequences, corporate He moved to Los Angeles, where logos and movie posters. He he pursued graphic designing as was a pioneer of the modern a commercial artist. title sequence designing. He During 1940’s he took up some enjoyed four decades of suc- Hollywood projects, which cessful career in his lifetime, involved the print work for biography winning Academy Award for his promotional purposes. In fact, exquisite graphic designing. His he started up his own practice iconic title sequences appeared in 1952 and a few years later in the popular films, such as, established his private firm as The Man with the Golden Arm, Saul Bass & Associates. In 1954, Psycho and North by Northwest. Bass finally had his big break as On May 8, 1920, in Bronx, New he was York, Saul Bass was born in the offered a job by the filmmaker household of Eastern European Otto Preminger to design a po- Jewish immigrants. He attended ster for Carmen Jones. the James Monroe High Scho- His work left a remarkable ol from where he earned his impression on Preminger, who graduation. In 1936, he received availed his expertise yet again a fellowship to the Art Students for his film’s title sequence. League in Manhattan. He then With the opportunity, came the went on to study at Brooklyn realization that the title College, attending night classes sequence can not only be served with a famous Hungarian-born as mere static credits but it can designer, György Kepes.
    [Show full text]
  • Vignelli Was a Celebrated Italian Graphic Designer Around the Twetnieth Century
    Vignelli was a celebrated Italian graphic designer around the twetnieth century. His V art work conveyed his ideas of simplicity through his extremely geometric and clean M designs. He did a lot of work for corporate companies and industries such as ‘American A I Airlines’ as well as designing the entire New York subway map. Massimo Vignelli was born on January 10, 1931 in Milan, Italy. During his life he G attended art schools and earned an architecture degree from the ‘Politecnico di Milano’ in 1953. S During the start of his career, his main area of expertise was graphic design for N corperate identity creation and products. S After marrying his wife Lella Vignelli in 1957, a few years later they established E their own design studio, the ‘Lella and Massimo Vignelli Office of Design and Architecture’ in Milan, Italy. The studio focussed on designing office products, I L furnitue, graphics and domestic products. Vignelli employed many geometric shapes in his designs such as cubes, pyramids, L spheres and cylinders in many, if not all of his designs. In 1971, Massimo and his wife M founded another firm, Vignelli Associates. His firm attracted very high profile clients seeking new and interesting designs for their products. Some of these clients included O I Knoll, Bloomingdale’s and IBM. Bass Saul Saul Bass was born on May 8th, 1920 and died April 25th, 1996. He was a graphic designer and filmmaker, well known for his design of film posters and title sequences. During his 40 year career, Bass worked for some of Hollywoods most renowned and greatest filmmakers at the time, these included Alfred Hitchcock, Stanley Kubrick, Otto Preminger, Billy Wilder and Martin Scorsese.
    [Show full text]
  • Dissertation Final1
    Erin Ross-Elmer BA (Hons) Graphic Design S0716676 How did Saul Bass’ experience as a graphic designer change his approach to de- sign for the film industry? 45 Credits 7821 Words 1 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 Index 1. Introduction. 2. Literature review. Bass’s education and understanding of design. Modernism and Bass’s Bauhaus education. Bass’s education in Psychology. 3. Chapter 1: Psychology and Film. Visual psychology and Semiotics. Psychology in film. 4. Chapter 2: Audience perception and understanding. Bass’s design skills in film. The Alfred Hitchcock/Saul Bass relationship. 5. Chapter 3: Comparing Bass to artists in film. Film advertising artists. The Stanley Kubrick/Saul Bass relationship. 6. Chapter 4: Summary. A summary of the information gathered throughout the dissertation. 7. Conclusion. 8. Bibliographies. Written references. Image references. 2 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 Introduction This dissertation focuses on the life of Saul Bass, but particularly the ways in which his art and design education and his interest in psychology influenced his deci- sions as a designer and how those factors supported him as a designer and visual con- sultant throughout his career. This paper follows his journey from a young artist and de- signer, interested and inspired by the modernist style of the Bauhaus in Chicago to somebody who worked to develop his understanding of the graphic design and film in- dustries, and more specifically, how his journey as a graphic designer meant that his approach to the film industry was different to that of a more conventional ‘film-maker’.
    [Show full text]
  • Moma EXHIBITION AUTOMATIC UPDATE EXPLORES THE
    MoMA’s NINTH ANNUAL INTERNATIONAL FESTIVAL OF FILM PRESERVATION SHOWCASES NEWLY RESTORED MASTERWORKS AND REDISCOVERIES Festival Features Films by Roger Corman, Forugh Farrokhzad, George Kuchar, Alberto Lattuada, Louis Malle, Agnes Martin, Georges Méliès, Michael Powell and Emeric Pressburger, Jean Rouch, and Seijun Suzuki Guest presenters include Joe Dante, Walter Hill, Alejandro Jodorowsky, Elaine May, Mario Montez, Thelma Schoonmaker, and Martin Scorsese To Save and Project: The Ninth MoMA International Festival of Film Preservation October 14–November 19, 2011 The Roy and Niuta Titus Theaters NEW YORK, September 20, 2011—The Museum of Modern Art presents To Save and Project: The Ninth MoMA International Festival of Film Preservation, the annual festival of preserved and restored films from archives, studios, and distributors around the world, from October 14 through November 19, 2011. This year’s festival comprises over 35 films from 14 countries, virtually all of them having their New York premieres, and some shown in versions never before seen in the United States. Complementing the annual festival is a retrospective devoted to filmmaker Jack Smith, featuring 11 newly struck prints acquired for MoMA’s collection and introduced on November 13 by Mario Montez, star of Smith’s Flaming Creatures (1962–63) and Normal Love (1963–65). To Save and Project is organized by Joshua Siegel, Associate Curator, Department of Film, The Museum of Modern Art. Opening this year’s festival is Joe Dante’s digital preservation of The Movie Orgy (1968). Dante, who created some of the best genre-bending movies of the past 40 years, including Piranha, The Howling, Gremlins, and Matinee, will introduce a rare screening of The Movie Orgy on October 14.
    [Show full text]
  • The Andy Johnson
    THE ANDY JOHNSON MOVIE POSTER COLLECTION FRIDAY 6 DECEMBER 2019 Dedicated to my late wife Maria without whom this would not have been possible Andy Johnson THE ANDY JOHNSON MOVIE POSTER COLLECTION I stumbled into my first job as a fine art photographer 35 years ago at a One of my highlights of my company called A.C. COOPER’S which undertook photography for many of photographic career was the leading auction houses and antique dealers. I rose through the ranks as a meeting and working with the photographer at Christie’s South Kensington, CSK as it was known then. legendary Ray Harryhausen, I loved the collector’s departments, especially the decorative arts and the pop the father of stop-motion and film memorabilia. I became friends with the head of the decorative arts animation, he would call department and started collecting 60s Poole and Troika pottery. it “Dynamation”. I still work for the Ray and Diana I would visit antique fairs and bric-a-brac shops to find ceramics. After 250 Harryhausen Foundation to pieces or so I started to go off the boil with the ceramics, so I started to look this day. for something new to collect. So, movie posters have Maria was a big fan of movies and drew my attention to film posters. Funny I become a big part of my life, brought my first film poster from an Art Deco fair. I had the choice of buying not just the collection aspect “The Jungle Book” one sheet or “Breakfast at Tiffany’s”, I ended up buying but also for the doors it has “The Jungle Book”.
    [Show full text]
  • Gáficos En Movimiento, Animación Pura
    Gáficos en movimiento, animación pura Paula Andrea Asís Ferri (UNC-UNVM | Argentina) María Eugenia Fiorenza Silvano (UNVM | Argentina) Resumen: Gráficos en Movimiento... piezas animadas que proliferan en nuestro entorno cotidiano, presentes en la tv, en el cine, en internet, en publicidades callejeras e inclusive en nuestros teléfonos. Así como el lenguaje audiovisual muta con las épocas y la sociedad, los Gráficos en Movimiento nacieron para adaptarse a los avances tecnológicos y a la tendiente hibridación de los medios masivos de comunicación. Por otro lado, esta forma audiovisual, que nace a mediados del siglo XX, todavía lucha por ser reconocida. Como su nombre lo indica, son gráficos en movimiento que se valen de diferentes técnicas de la animación para tener vida, sin embargo varios sectores del campo de la animación no los consideran como parte de este universo. En este trabajo ponemos en consideración esta situación y nos cuestionamos a cerca de las causas que generan esta tendencia negadora por parte de la animación. ¿El contenido o la forma?. Palabras Claves: Gráficos - Movimiento - Visibilización - Animación Paula Asís Ferri - Eugenia Fiorenza Silvano | ANIMA2015: 117 - 126 Gráficos en movimiento Uno de los primeros antecedentes de Gráficos en Movimiento, o Motion Graphics, en la industria audiovisual fueron los realizados por el reconocido diseñador publicitario Saul Bass, quien diseñó los títulos de aperturas y créditos de destacadas películas de la historia del cine, tales como The Man with the Golden Arm (1955) de Otto Preminger; North by Northwest (1959); Vertigo (1958) en el cual trabajó con John Whitney; y Psycho (1960) de Alfred Hitchcock. En la década de los ´80, Saul Bass y Elaine Makatura Bass fueron redescubiertos por James L.
    [Show full text]
  • Djalme Martins.Pdf
    Title Sequence The XX Title Designers Title Sequence The XX Title Designers 2017 Ilustracção e Animação Djalme Martins Orientação Eliana Penedos Composição Músical Eduardo Serra Colaboração Jorge Marques Texto e Design Djalme Martins Tipografia Azo Sans Papel Eural Offset Impressão Tipografia Ribeiro Encadernação Ana & Carvalho Tiragem 6 Exemplares Djalme Miguel Martins Teles M.A. Design de Comunicação INTRODUÇÃO 7 METODOLOGIA 13 1. TITLE SEQUENCE 1.1. PERSPECTIVA CRONOLÓGICA: O SEC. XX 29 1.1.1. ERA PRÉ SAUL BASS23 35 1.1.2. ERA SAUL BASS 49 1.1.3. ERA PÓS SAUL BASS 77 1.2. ANÁLISE DA INFORMAÇÃO 89 1.2.1. CONCLUSÃO DA ANÁLISE DA INFORMAÇÃO 101 2. CREDITAR OS CRÉDITOS 2.1. A SINOPSE 115 2.2. O GUIÃO107 119 2.3. O STORYBOARD 125 2.4. O PROCESSO ÍNDICE129 CONCLUSÃO 137 RESUMO/ABSTRACT PORTUGUÊS 147 INGLÊS 143 146 BIBLIOGRAFIA 155 ANEXOS 161 3 ÍNDICE INTRO DUÇÃO INTROINTRODUÇÃO DUÇÃO 7 Captar a atenção do público desde o início do filme sempre foi uma preocupa- ção presente no cinema, bem como o dever de creditar não só o elenco, como toda a equipa técnica por trás das grandes produções, assim, em função destas duas necessidades surgem as title sequences. Capazes de introduzir a temática do filme ou até de resumir as cenas mais marcantes do mesmo, estes pequenos vídeos introdutórios captam a atenção do observador enquanto lhes passam in- formações essenciais do mesmo como o título, os principais nomes do elenco e da equipa técnica. Furthermore, in an environment full of clutter, the first impression of the film in the movie theater, or on the television screen, prepares the viewer for what is to come just like the cover of a book.
    [Show full text]
  • Catalogue 2019
    CONTENT 7 A WORD OF HELLO 9 A WORD FROM THE MAYOR 11 GRANDTOON AND STUDENTOON JURY 17 GRANDTOON Animated Short Films competition 33 STUDENTOON Animated Student Films competition 53 SUPERTUNE AND SUPERCOMM JURY 59 SUPERTUNE Animated Music Videos competition 89 SUPERCOMM Animated Commissioned Films competition 111 PLANKTOON JURY MENTORS 115 PLANKTOON Animated Films For Children competition 131 OUT OF COMPETITION 133 ANIMATED DOCUMENTARIES 139 MIDNIGHT MICROPLASTICS 145 VR | 360 ANIMATED FILMS 151 ANIMATED TITLES – Art of titles 155 ANIMATION SKILLSET – Making of 161 SUPERVISION WORKSHOP 165 PLANKTOON WORKSHOP 167 FESTIVAL SOUNDTRACK 173 SUPERTOON TEAM 175 SPONSORS 5 A WORD OF HELLO Dear filmmakers, guests, and friends of animation, I want to wish you a very warm welcome to the 9th edi- tion of Supertoon International Animation Festival. This year, as always, we’ve prepared a top selec- tion of films, in competition and out of competi- tion. We’ll have many accomplished and up-and- coming authors nationally and internationally presenting their latest short animated films, showing you the endless possibilities of this versatile and excit- ing art form and competing in five different categories. Out of competition, we will remind you of sever- al master pieces of animation with a selection of animated opening and closing film titles and mak- ing-of films, but we’ll also show recent, and urgent, short animated documentaries, films about the plas- tic waste filling up our oceans, and 3D films you’ll be able to see, exclusively, through VR glasses. Other than screenings at some of Šibenik’s most beau- tiful public squares and galleries, we’ve come up with a brand new venue: the festival boat a.k.a.
    [Show full text]