Task 1 - History and Art of title sequences.

"If there were a hall of fame for film title design, Stephen Frankfurt’s sequence for the 1962 film “To Kill A Mocking Bird” (below, upper row) would have a seat of honor. Cameron Crowe referenced it in “Almost Famous” (lower row):" -

I found this picture and this piece of information very interesting, due to the fact that Stephen Frankfurt's sequence has been re-interpreted by Cameron Crowe in his film "Almost Famous". However, the interesting thing about this, is the fact that there are 38 years difference between the making of these two films. From the pictures used in the sequence, there is a noticeable difference in the props used and how they have modernized. Also, the main difference is colour. In the pictures from the 1962 sequence, they are in a black and white contrast, whereas the more recent sequence, the pictures are in colour and more clear.

“Humorous Phases of Funny Faces” (1906) — was directed by J. Stuart Blackton, who many consider to be the father of American animation. Not only is it one of the first animated films, it is among the first to feature an animated opening title, making it a precursor of the modern title sequence" 

After watching this clip, you can tell that its possible that this sequence plays a huge part in the way title sequences are made today. Although this title sequence is very simplistic, for something made so early with such little technology and skills allowing them to do something different, this sequence works so very well. It is catchy and different engaging the audience making them want to carry on watching it.

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): 

After reading this information and watching both clips, many factors stand out that are similar between these two clips. Although there is 56 years difference between the two sequences, there are many of the same elements between these two clips. Straight away, the music instantly sounds the same. The classic sound of American Jazz features in both of the clips. Also, the structure of the sequence is very similar as both contain shapes and objects moving around the screen to create an animated effect.

The following inter-titles are typical of silent movies. A shot from the comedy The New Janitor (1914) featuring Charlie Chaplin is on the right, and the silent western West of Hot Dog (1924) is on the left:

I was really interested when reading about silent movies and their 'inter-titles' and how the comedic effect of a comedy could entertain the audience by being an 'inter-title'. Charlie Chaplin is known for being one of the greatest mime/comedic artists ever, and seeing how is work was put across to his audience is really interesting but strange as attempting to imagine such a huge comedic effect being able to come across by just words on a screen was fascinating. However, this only credits Chaplin even more in being able to have that effect on the audience.

Waltograph was created by Justin Callaghan in an attempt to capture the spirit of the familiar Walt Disney signage.

Here’s a cheerful Looney Tunes-inspired font family called That’s All Folks.

The typography for films are very interesting and its strange how a film that uses a certain font can then make that font so noticeable. For example, the 'Looney Tunes' font will always be recognised for being the font for the Warner Bros. company. Also, the classic Disney font will always be renowned for being the font for the classic film and programme company Walt Disney that have made, arguably, some of the best and most popular family films in history. First sight of these fonts, instantly we know where we have originally seen them.