Title Sequences In Our Chosen Genre

As a group we decided that the genre of our title sequence should be a drama.

The title sequence for Forrest Gump was designed by Nina Saxon. The title sequence starts with a white feather travelling across an American street, this shows the setting and allows a timeframe to be established due to the use of the style of cars and costumes, suggesting a timeframe of the 1980s. The feather used has many associations towards it such as flight, fate and freedom, these also relate to the themes explored throughout the film. The feather landing on Forest's feet creates narrative enigma as the audience would question why the feather was given such a significant scene, the use of camerawork also makes the experience more intense and highlights the value of the metaphorical associations towards the feather and its importance in the film. The close up of Forest's shoes draws focus to his trainers which are covered in mud with exceptionally white laces, the title sequence continues into the opening scene where forrest refers to his mothers saying of how you can always tell a lot about a person by there shoes, this relates to the narrative massively and will entice the viewer to keep watching in order to answer the questions that the title sequence has created. This also refers to the well known saying of not judging someone until you've lived a day in their shoes, this relates to the characters in the film, specifically Forest who was judged his whole younger life however went on to live an amazing one. The typography is very plain and simplistic, the white text blends in with the colour scheme of the title design, allowing the feather to remain the main focus of the sequence, this also avoids the focus being anywhere other than where Nina Saxon wanted it to be.

The Notebook is a drama/romance. The title sequence explores many of the symbolic meanings and themes in the narrative, the sequence shows images of birds, one of the films main themes is freedom which is represented through the birds and their symbolic associations. The title sequence shows visuals of water throughout, this visual is parallel with the calming soundtrack and relates massively to the narrative and the ambiguous meanings that are explored through the film. Water symbolises life, without water there is no life, this interpretation and association towards life is applied to the main character, Noah, in the film, this character is also shown in the sequence. The typography is basic and has no relevance in the visual which is the main focus, similar to Forrest Gump the typography is basic and simplistic. A red and orange colour scheme is used to represents a sunset/rise, the characters and setting around are a shadow effect, this creates hidden identity creates narrative enigma as well as the colour scheme being conventional of a romance. Fade in fade out is used as transitions between scenes, this is both suitable and fitting for the tranquil feeling that the sequence portrays, the sequence is slow paced and is designed so the whole sequence feels and looks elegant. 

Moonrise Kingdom Analysis

Wes Anderson's style of work has a huge influence in our title sequence, specifically the title sequence of Moonrise Kingdom. We hope to re-create our title sequence and have the same colour scheme of warm/yellow tones. We also hope to take inspiration from the style of camerawork used throughout, myself and my group hope to use a variety of shots in our title sequence especially panning and tracking. Wes Anderson's title sequences are based heavily on mine-en-scene, Moonrise Kingdom features many props that help establish the narrative and genre for example, the binoculars. The typography is elegant and has an old fashioned, vintage feel about it. The colour is a warm mustard tone that reflects and compliments the undertones of the colour scheme very well. We hope to incorporate many of these elements into our title sequence.

Typography Within Title Sequences

Typography and design are the main elements that communicate to the audience in title sequences. Title sequences should explore the genre, style/mood, possible narratives and themes within the film.

The title sequence of Catch Me If You Can explores many of these elements, the title design is heavily influenced by Saul Bass and the use of incorporating graphic design into animation.
The soundtrack creates a visual image of the timeframe, being the 1960s. The soundtrack was designed to change during different scenes in order to be parallel with the visual and reflect the narrative through the use of different tones. The animation interacts with the typography to give an overall visual, the movement of the typography also represents the narrative through the chase. The theme of travel is established very quickly as a result of the choice of location used in the different scenes. Editing is cleverly used throughout the title sequence, the pace slows down as key visual elements in the scene are added in order to attract attention to the main characters and highlight the star power they supply, you can see in the still frame above that an arrow is added in so the focus of the viewer can be drawn to the objects they wish to highlight, the typography also helps this process. The pace however increases during the scene which shows the secondary actors, which are written on a shared slide instead of individual slides, unlike Tom Hanks and Leonardo DiCaprio. The sequence gives away the whole of the narrative, making the title sequence, arguably, not that great however it is very appealing visually.

Saul Bass

Saul Bass is known for being one of the first people to incorporate graphic design into traditional opening sequences. Bass designed the title sequence for psycho (1960), the sequence itself was hugely innovated for its time, Bass creates a stylised, fragmented world that moves like animation however looks like graphic design. The movement of the credits and use of the skips and fragments represent the workings of the main character Norman Bates, this shows how the credits alone can be used to establish character as well as narrative.

The title design for Casino (1995) is extremely visual however, unlike Bass' previous work the typography does not have as extensive meaning. The typography does not play a main role in the visual, it remains central but does not contribute to the narrative that is being told in the title sequence. However the credits allow a theme to be explored and give a timeframe for the film through the vintage style of text, this reflects the time period, setting, narrative and characters very well. Like most of Bass' work the soundtrack is orchestral and parallel with the visual. The use of vibrant colours reflects the character and film, it suggests energy, flashiness and money, the choice of enticing colours and patterns makes the trailer look desirable and visually reflects casinos through the bright colours.

Saul Bass also created the title sequence for one of his best know pieces Cape Fear (1991). You can see from the still below that Bass still incorporates basic graphic design into his sequences even when technology has adapted. Like most of his title designs there is an ambiguous theme running through the narrative which is represented through the choice of props and the connotations towards them. Each scene represents a central theme within the narrative, the use of the colour red is a metaphorical representation of sacrifice and anger and the liquid represents the setting but also has ambiguous interpretations. The scenes have a cross-fade transition, with the typography being the main focus and remaining central throughout the sequence, similar to Bass' other work.

Analysing Genre

It is important that trailers and opening credits establish genre to illustrate what the film will entail and exceed the viewers expectations. Genre is established mainly due to iconography.

Skyfall is great example of establishing genre within opening credits. Skyfall is a spy film, a sub genre of action. The orchestral soundtrack is not only extremely conventional of a spy genre but is also parallel with the visual pace of the opening credits. Throughout, the trailer suggests that Daniel Craig, who plays the role of the protagonist is involved in crime. The dark colours and thick red mist connotes danger, suggesting that danger follows him. The shadows suggests he is trying to hide, relating to the idea of him being followed, all of these aspects create narrative enigma.The Japanese Dragon's also show some context of the film. The use of the graveyard emphasises danger and death, the main elements of a spy/action film, as well as the use of fire which is commonly shown throughout the credits. The costumes consist of the protagonist wearing a suit and the women being highly sexualised and linked with phallic imagery, these are all conventional of an spy film.

Deadpool is also a good example of opening credits establishing genre. Dead pool has a genre of action-comedy and superhero. Like most action films a romantic storyline runs throughout, this leads to a convention of a superhero/action film as it creates the story as 'the damsel in distress' who needs to be saved by the protagonist. The credits themselves are sarcastic and funny, they refer to the roles needed in a action/superhero film. The soundtrack is contrapuntal with the images and appeals to the viewer due to this. The props used throughout are extremely conventional of an action film- the use of guns, the car crash, violence, explosions and especially the costumes, which is also a convention of an superhero film. The location is also extremely conventional as it is set in a city, where they're is a higher threat to civilians and more reasons for conflict. - https://www.youtube.com/watch?v=2MjyGL0go60

Codes And Conventions of Title Sequences

Kyle Cooper designed the title sequence of The Incredible Hulk. The title sequence was designed as a prologue, the opening sequence is a type of chemical reaction, making the sequence conventional of a action/science fiction film. The overall design of the title sequence is unique as print media is used to tell the narrative, the use of props also help give context. Different character point of views were also used in the title sequence, the Hulk's point of view was more prominent due to him being the leading character and protagonist. There are also elements of love being established in the storyline, this is also extremely conventional of an action film as it is a automatic set up for the 'damsel in distress'.

The title sequence of Love Actually represents the theme and tells the narrative very well due to the use of conventions throughout. The use of archive footage is conventional represents the theme and genre of the film. The visual is parallel with the sound and allows narrative to be established further due to the diegetic voice over that consistently refers to love. The title sequence isn't text heavy, this ensures that the focus will remain on the footage which has the main part in the title sequence, the sequence was also designed as a montage, the scenes didn't have transitions between them and just cut to the next one. However, some of the scenes were slowed down in terms of pace and sound, when the voice over refers to the genre and 'love' the pace of editing was slowed down, this highlights the narrative and theme.

David Fincher's Se7en is known for its abstract and unique title sequence. The opening scene is in montage where lots of clips are formed together, the use of camerawork throughout makes the overall experience more intense to view as the close ups create tension, there are also no long shots to counter act, adding to the suspense. The viewer is very restricted visually and only gets to see the hands of the character, relying on the judgment of the character to be built on the choice of props used. Due to this, the props are heavily associated with crime, in order to appeal to the conventions of a crime/thriller, such as files and case work.