Smashing magazine- The art of the film title throughout cinema history.

Film titles made their appearance in the earliest silent films, along with letter cards (or inter-titles), which provided context. These cards were the responsibility of the lettering artist, who collaborated with the scriptwriter and director to create narrative continuity so that audiences could follow what they were seeing. I wasn't aware, until reading this article that there were silent films. I also wasn't aware that films didn't always have title sequences, however I am now. Therefore this was of interest to me as I wasn't aware of silent films, or that there hasn't always been title sequences.

we see the emergence of typography that seeks to match letterforms with the subject matter. I didn't think that there would of been a beginning of title sequences, I was decieved into believing that title sequences always had a lot of thought gone into them from the typography to the music. But of course, as there is progression in all aspects of life, there is progression in the design of title sequences. Beginning with the typography reflecting the film (which I had mistakenly thought had always happend.)

Thus, blackletter fonts in the opening credits were used to evoke horror, ribbons and flowery lettering suggested love, and typography that would have been used on “Wanted” posters connoted a western flick. Due to the 1920's-30's European cinema being influenced by modernism, images and typography that we use to identify genres of films today, was just beginning. It has made question that without the influence of modernism, would we still associate 'flowery lettering' with love? Wanted posters with the West and black letter fonts with horror?

The concept of score visualization first conceived by Oskar Fischinger in his film “Studies” anticipates the effects created by Saul Bass in “The Man With the Golden Arm” (1955) and later by Susan Bradley in “Monsters, Inc” (2001) This point made an impact on me, as due to Oskar Fischinger adding music and effects, it has developed into visually stunning title sequences, which whet the audiences appetite for the films; such as Susan Bradley's in 'Mosters Inc.'

Kyle Cooper states that while the power of computer graphics is obvious, he still likes experimenting with live action, because there is something special about the imperfection of making things by hand. Until reading this I was under the illusion that all the titles were done digetly. However on learning that it is not always done so (with Susan Bradley's ending sequence of 'Ratatouille' as an example) I have realised that I don't give that much attention to the art in the title sequences. Therefore by reading this article it has made me much more appreciative of the art, and dedication it takes in producing an effective title sequence.