The Design of Credits as an Art Form
Abstract
Film directors and producers basically regard the credits and other titles as necessary evil, not paying much attention to their design, fonts, dynamics and the possibility of setting the mood for the film story that follows. Giżycki concentrates on a few examples offering a creative approach to the style and design of film’s opening sequences, usually created to present the title and names of the major artists involved in the creation of a film. To make his point, Giżycki examines the work of Saul Bass (the author of title sequence for Alfred Hitchcock’s Vertigo), Pablo Ferro (Dr. Strangelove, Bullitt, Midnight Cowboy), Stephen Frankfurt (To Kill a Mockingbird), Maurice Binder (Barbarella, The Private Life of Sherlock Holmes) and Kyle Cooper who designed the famous opening sequence of David Fincher’s Seven.
Keywords:
opening sequence, credits, fontReferences
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Authors
Marcin Giżyckikwartalnik.filmowy@ispan.pl
Rhode Island School of Design United States
Krytyk i historyk sztuki, autor książek z dziedziny historii filmu i zjawisk kultury artystycznej. Wykładowca w Rhode Island School of Design w USA. Prorektor w Warszawskiej Wyższej Szkole Sztuk Audiowizualnych i Nowych Mediów. Opublikował m.in. Nie tylko Disney - rzecz o kinie animowanym (2000), Koniec i co dalej? (2001 ), Słownik kierunków, ruchów i kluczowych pojęć sztuki drugiej połowy XX wieku (2002).
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Copyright (c) 2005 Marcin Giżycki
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