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Title Sequence Analysis

2613 Words11 Pages

Introduction
I have structured my dissertation question and objective through conducting research on a topic that I have come to have an increased interest in.
The development of introduction/ title sequences in movies over the past 50 years with respect to typography and other influencing factors.
To adequately address this topic, I feel the need to answer a number of questions relating to the details contained within each title sequence. In order to achieve a just conclusion, I will compare and contrast 2/3 directors, producers and their influences. The questions are as follows:
1. How does typography play a part in title sequence design?
2. How important are other influencing factors such as music, Colour choice etc.?
3. How has typography …show more content…

With the progression of creativity and sophistication, it continues to become a prominent issue and as it should, draws a lot of attention from viewers and movie critics alike.
Review of practical examples
David Fincher's form of The Girl with the Dragon Tattoo opens with a blasting, teacup-rattling title grouping, in which terrible structures – some mechanical, others natural – overflow with graphic creativity. Ode to the booming riff of Trent Reznor and Karen O's spread of The Immigrant Song by Led Zeppelin, it’s a forceful statement of intent, as if Fincher's fiercely stamping his authority on a property that was adjusted for the screen two years prior.
There is nothing new about Fincher opening his movies with a surprising showcase of sound and symbolism. Pictures of ache and enduring are accumulated by agile, insidiousness fingers to the music of Nine Inch Nails at the start of Seven. Fight Club opens with a fast race along neural pathways to the scream of The Dust Brothers' main …show more content…

Whether we're viewing a film at home or in the silver screen, our experience will in all likelihood have been introduced by an assault of adverts or outside preoccupations. A title sequence goes about as an extension between the outside world and the envisioned one in the film, and permits the movie producer to ease the viewer into the cadence of their motion picture. For the most part of Cronenberg's movies, this musicality is precise, in the same way as the moderate tick of a metronome, or a researcher navigating a through a collection of presentation

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