Duke Ellington’s stylish score is the cause, making a rural and forested land feel like a big city with big problems.Įllington’s score simply oozes cool, from wailing trumpet and saxophone melodies to meandering, somber solo piano pieces. And yet, in Anatomy of a Murder it feels lively. ![]() ![]() Visuals and sound are used more for providing information or for creating spectacle than for reasons of creativity.Michigan’s Upper Peninsula is a lonely, desolate landscape, one of the few places left in America that feels undisturbed by humanity’s touch. There is little to no creativity in the typography department. The artistic practices of the previous decades in this field have been greatly reduced in spite of the technological advancements. Visual and aural similarities that can be considered characteristic features, appear throughout his extensive body of work. He created a number of typefaces, keeping in the mind the specific aesthetic and conceptual demands of his films. He was a talented typographer, artist and composer. Ray’s work especially can be read in relation to the modernist graphic design principles and sensibilities. Among auteurs who designed title sequences for their films, Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Mani Kaul are notable examples. He carved out his own distinctive style and his studio Ram Mohan Biographics also designed striking live action title sequences. Ram Mohan, known as the father of Indian animation, crafted a number of title sequences for Hindi films. Animation became an important medium for these sequences when colour film began to gain precedence. In contemporary films, motion graphics and animated sequences are frequently used to familiarize the viewer with motifs and images that will resonate while watching the film. Another prevalent practice is to intercut the title card with scenes from the film. Sometimes, the title sequences are designed to act as puns or metaphors to the text of the film. Then title sequences began acting as backstories or prologues for the film in order to manage the duration of the film or advance the plot quicker. The earliest title cards looked like the opening pages of a book – simply stating necessary information. The evolution of title sequence from a means to convey information to a designed sequence has taken decades. Depending on the contemporary art movements and technological advancements, the aesthetics vary and these three points can be used to trace the evolution of title sequences through the 100 years of Indian cinema. The main constituents of these sequences are text, visuals and sound. It set the tone and mood for the film by the choice of typeface, visuals and music all of which create a theme for how the makers want the viewers to engage with the film. So, the artistic side of the practice began to emerge with calligraphers, type artists, illustrators and designers being employed to create this ‘film within a film’ that could either act as a prologue or an epilogue. With the advent of sound films or ‘talkies’, the credit sequences primary function was reduced to providing information related to the artists who worked on the project. Title cards were of great importance in the age of silent films in order to convey narrative points and dialogues etcetera. ![]() The dissertation is a compilation of the various facets of title sequence design in Indian cinema, including the history, elements, techniques and the most notable artists. By infusing his Hollywood design work with high art modernism, Bass was responsible for raising the sophistication of Hollywood films and advertising. Furthermore, Bass’ design aesthetic was heavily influenced by the clean, modernist look of the Bauhaus, as it was translated into a particular idiom for corporate America. Rather than seeing each one of these aesthetic endeavors in isolation, the book argues that they all manifested a particular brand, revealing similar design strategies, themes, and visual looks, which have become identified with the post World War II era now associated with Madmen. This book looks at the career of one of Hollywood’s most accomplished designers, who worked in film advertising, designed posters, created title sequences, directed commercials, independent documentary and fiction films, as well as corporate identity campaigns for clients outside Hollywood. ![]() Most members of the general public have never heard of Saul Bass, yet almost everyone knows his work, whether his logos for the Girl Scouts of America, United Airlines, and AT &T, or his film titles for Anatomy of a Murder (1959), Psycho (1960), and Goodfellas (1990), or his Academy Award winning film, Why Man Creates (1968).
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