AESTHETICS OF CINEMA
Part 1: Title Sequences
With the following series of essays, I hope to explore the relationship between stylistic choices in film, and their impact and meaning to an audience. These choices are sometimes subtle, and other times overt. A film is a collection of these choices; I think it is important to recognize how dependent a film's entertainment, emotional impact, and artistic quality are on the aesthetic choices I will explore. These essays are not scientific, and are solely based on my reading of film essays, and largely my own observations.
I begin the series with an often overlooked component in film: the title sequence. Casual filmgoers rarely take into consideration this aspect of film, but I believe it is nonetheless important and worthy of examination Often the title sequence is used to help introduce the viewer to an aspect of the film, and help establish the tone. Other times, these sequences can be used to disorient to viewer by introducing the film with a tone that is the opposite of rest of the film, leading them to be surprised, or placing the titles at an unexpected place in the film. Ultimately title sequences are used just as many other devices in film, to manipulate the audience into thinking or feeling something. Below I will provide several examples of titles sequences of films that have used them to achieve a certain feeling or elicit a response from the audience.
Introductory Title Sequences
STRANGER THAN PARADISE
A prime example of a title sequence setting a tone is Jim Jarmusch's 1984 film Stranger Than Paradise. The film opens with a cut from a black screen to a simple optical title card bearing the films name (seen below) held for a little longer than it would take anyone to read it, followed by a cut to a black screen which is held for several seconds, and another cut to an optical title card in the same font reading "A FILM BY JIM JARMUSCH" followed by another cut to several seconds of a dark screen, and another cut to the first image of the film, a grainy 16mm black and white shot of a woman standing at an airport, with the sound of a plane accelerating which had faded in under the titles. These sparse, minimalist titles, unaccompanied by music immediately clue the viewer in to the slow, minimalist editing style that film will follow, piecing scenes together end to end with direct cuts to black space.
THE RED SHOES
Michael Powell and Emeric Pressburger's 1948 film The Red Shoes is another excellent example of introducing the viewer to a style the film will follow. The title sequence to the film opens with an optically printed standard legal disclaimer about the fictionality of the events and characters, dissolving to a list of the cast, which dissolves into a close-up of a burning candle. The camera pulls back and reveals the title of the film, hand painted and filmed live. This is followed by the complete technical credit sequences optically overlaid on radiant color storybook pages bordered with ballet shoes and flowing ribbons. This live action title card stands out from the rest of the titles in the sequence. This sequence exploits the Technicolor film stock which was new at the time. The importance of this choice to introduce the film this way is the way it implies that the following film will be told like a fairy tale. The title card features a book, the spine of which is labeled "Hans Christen Anderson," who wrote the story that the centerpiece "Ballet of The Red Shoes" is based upon. The color choices are also key to introducing the audience to the style of film. Red plays a large part in the color scheme of the film, but it also hints at a lead character's hair color, that of Moira Shearer (a red head), and clues the audience into the importance of that character when she first appears.
These are some other examples sequences that help introduce the tone of the film, I'll provide smaller descriptions for these films.
MANHATTAN
An opening montage of New York set to George Gershwin's "Rhapsody in Blue." This is a rare instance in film where the title of a film is displayed as something that isn't directly pointed out, in this case, as part of parking garage sign.
VERTIGO
Saul Bass designed the opening to Hitchcock's film, setting an eerie, mysterious and ambiguous tone, that continues throughout the film. Bass' style is often alluded to and copied (see next film.) More of Saul Bass' work can be seen here (includes analysis of Bass' sequences in film, and was in part, an inspiration for this series.)
CATCH ME IF YOU CAN
Steven Spielberg's film opens with a Bassesque opening sequence, setting both the period in which the film takes place (late 50s-early 70s), and introduces several plot elements.
25TH HOUR
Spike Lee's 2002 film is set in New York City soon after September 11th, and Lee opens the film with a montage of close ups and wide shots of the two lights which emanated from the site of the fallen Twin Towers, reminding the viewers that the following film's events take place after, and are influenced by the attacks on New York.
KING KONG
Peter Jackson's remake of the 1933 film opens by evoking the previous films title's, with an art deco design, immediately thrusting viewers into a style popular in the time the film is set, seen in the design of buildings in depression era New York.
Uniformity and familiarity as a tool.
Many filmmakers use similar title sequences for each of their films, using the same fonts, or structure to again, introduce the audience to an aesthetic they'll use throughout the film. I'll provide some examples of filmmakers who have done this below.
WOODY ALLEN
Since his 1977 film Annie Hall, Allen has used the same font for each title sequence (several examples of which are
here.) This signature title sequence immediately identifies it as a Woody Allen film, and introduces those familiar with Allen's work to his aesthetic. The font evokes Americana, jazz, and New York, all extremely big themes in Allen's oeuvre.
INGMAR BERGMAN
Another way to utilize the familiarity of title sequences is to use certain fonts and similar title sequences to distinguish periods in a filmmaker's work. Bergman's earlier films from the 50s to the 60s use a simple white text on black background for each film. (First two below.) These films were often shot with a more static camera and were in sharp black and white. In the 70s Bergman moved to what many refer to as his "chamber drama" period, employing a different title sequence, with a color background (one that is used throughout the movie.)
Wild Strawberries
The Virgin Spring
Cries and Whispers
These are some other examples of directors who use similar opening sequences to help establish their aesthetic.
ORSON WELLES
Welles' two first features used bold, outlined text, classy and unlike any other titles used in his era, even this aspect of Welles' films were innovative and daring. Sadly after these two films Welles' title sequences, and his films (including Ambersons) were taken from him and cut up and mutilated by dishonorable studio executives and producers.
YASUJIRO OZU
All of Ozu's films feature an optically printed title overlaid on a tatami mat, this fits with Ozu's tendency to shoot most of his films from the height a person sitting on such a mat would be able to see from.
Early Summer
Studio forced titles.
It is important to note that in the earlier days of studio films, many title sequences were generic template title cards that the studios made to highlight their stars. Below are some examples of such titles for classic films, and a contrast for how the title cards were handled when their creators had a hand in making them.
CASABLANCA
Considered to be one of the great american films, it opens with a generic title card completely uncharacteristic of the rest of the picture.
GRAND ILLUSION
Made around the same time as Casablanca, Jean Renoir's classic shows none of the visual flair and detail Renoir Later exhibited in his films. The second card is from a later film by Renoir called The River.
THE KID
The title card for Chaplin's great silent feature was created by the distributor and lacks creativity in a film that is full of technical inventiveness. The second card is from Chaplin's later, independently distributed masterpiece entitled City Lights and shows more care and thought.
all title cards captured by DVDBeaver.com
I'm doing these series of essays to practice analytical writing, and to further my study an analysis of film aesthetics. The next essay will be on film stock and aspect ratios and explore the impact of 8mm-70mm, 4:3 to widescreen, black and white and color.
written by Nicholas Tinsley
05/11/06