After careful deliberation within our group, we decided that a well-filmed title sequence would be an exquisite ex
tract to add to our film. Many of our group’s members favourites films have excellent opening credit sequences, and we all believe that having a good title sequence adds to the films mood and gives the audience an idea of what to expect later on. We also proposed the idea of having a title sequence completely opposite to our film’s mood, to throw audiences off, so that when certain events happened in the film they would become more shocked and surprised. This idea was well thought out at first, but fell through and we decided to create
a simpler title sequence, but with interesting and provocative images behind the credits.
We took influence from the opening sequence of ‘This Is England’ (Dir. Shane Meadows, 2006). Though not in the same genre as our film, the opening credit sequence intrigued us a lot. The images are all of England itself, starting off with happy images, but slowly drifting to ones of misery and despair. We thought that this technique was very effective, and thought that we could use a similar method for our opening sequence, to show our protagonists psyche and his view upon the outside world. Rather than using images of England, we thought we could get images of particular places. For example, for the opening shots which will be ‘happier’, we could get shots of trees in autumn and children playing in the park. As the shots get darker and more distressing, we would use shots of dismantled ho
uses and shoddy wastelands. We agreed that this sequence would set the tone for our short film and give audiences an idea of what to expect from the next five minutes of footage.
Another title sequence that our group took influence from is from the film ‘Alien’ (Dir. Ridley Scott, 1979). The opening sequence was very minimalist non-diegetic sound, and the word ‘alien’ slowly comes together on the screen. As the letters piece together, the suspense gets cranked up and as the word is finally complete, the viewer is shown the spaceship on which the later destruction will happen. This opening sequence was very influential on our group, and we especially liked the use of minimalist sound. We agree that a particular song or a lot of non-diegetic sound over the images in the credits would not set the mood as we would like, and we would most likely not get the desired reaction from the audience to the images being shown. Because of this, we have agreed tha
t the least amount of non-diegetic sound would be the best way to open the film and set the mood.
tract to add to our film. Many of our group’s members favourites films have excellent opening credit sequences, and we all believe that having a good title sequence adds to the films mood and gives the audience an idea of what to expect later on. We also proposed the idea of having a title sequence completely opposite to our film’s mood, to throw audiences off, so that when certain events happened in the film they would become more shocked and surprised. This idea was well thought out at first, but fell through and we decided to create a simpler title sequence, but with interesting and provocative images behind the credits.We took influence from the opening sequence of ‘This Is England’ (Dir. Shane Meadows, 2006). Though not in the same genre as our film, the opening credit sequence intrigued us a lot. The images are all of England itself, starting off with happy images, but slowly drifting to ones of misery and despair. We thought that this technique was very effective, and thought that we could use a similar method for our opening sequence, to show our protagonists psyche and his view upon the outside world. Rather than using images of England, we thought we could get images of particular places. For example, for the opening shots which will be ‘happier’, we could get shots of trees in autumn and children playing in the park. As the shots get darker and more distressing, we would use shots of dismantled ho
uses and shoddy wastelands. We agreed that this sequence would set the tone for our short film and give audiences an idea of what to expect from the next five minutes of footage.Another title sequence that our group took influence from is from the film ‘Alien’ (Dir. Ridley Scott, 1979). The opening sequence was very minimalist non-diegetic sound, and the word ‘alien’ slowly comes together on the screen. As the letters piece together, the suspense gets cranked up and as the word is finally complete, the viewer is shown the spaceship on which the later destruction will happen. This opening sequence was very influential on our group, and we especially liked the use of minimalist sound. We agree that a particular song or a lot of non-diegetic sound over the images in the credits would not set the mood as we would like, and we would most likely not get the desired reaction from the audience to the images being shown. Because of this, we have agreed tha
t the least amount of non-diegetic sound would be the best way to open the film and set the mood.Dr. Strangelove
Although classed as an old gem in cinema history, Dr. Strangelove was one of the first of its kind to employ a title sequence at the beginning of a film. What I have learnt from this preliminary research is that it must reflect the genre at hand, a trait Dr. Strangelove captures perfectly, as a B-52 bomber “mounts” a KC-135 Tanker in mid-flight.
The remaining reasons I have pursued this film as inspiration for our title sequence concerns it overwhelming simplicity, yet maintaining dynamic impact all the same. So although we may not necessarily incorporate planes within our opening sequence, soaring through the air, we plan on capturing this simplicity in a way that anchors and reflects our psychological thriller genre. In terms of sound, the contrapuntal, American alteristic non- diegetic sound serves as an effective anchorage for the upcoming film, as this could satire the stupidity of war, and the fact it is ever going and omnipresent.
Watchmen
Watchman, on the other hand, presents a new, jaded world. This is fundamentally captured through the cinematic frameworks, that being mise-en-scene, editing, cinematography and sound. The title sequence suggests how life has fallen through new tangents, which has thereby altered society’s minds and perception upon the world. As a result, this universally affects the psyche, something that co-links with our films genre. The sequence fundamentally presents the beauty and malevolence in life all wrapped into- the torn disposition of our protagonist.
This theme entwines with the over-dubbed non-diegetic sound of Bob Dylan’s The Times Are-A Changing, a song which lyrically mirrors how people are progressing too fast for the world, which will inevitably lead to its downfall. This similarly anchors our protagonist’s psyche, someone who cannot keep up with the world’s progress, and therefore slips between the cracks of life.
In this sense, the opening sequence should serve as some form of metaphor for the lead protagonist; so therefore, it should mirror the genre, our patient and the world within our film.
The only chink in the armour here concerns the complexity of Watchmen’s opening title sequence, rife with special effects and CIG. It appears however that dynamic impact can also be presented through simplicity, as seen in Dr. Strangelove. Therefore, we will have to entwine features from both film’s title sequences.
Although classed as an old gem in cinema history, Dr. Strangelove was one of the first of its kind to employ a title sequence at the beginning of a film. What I have learnt from this preliminary research is that it must reflect the genre at hand, a trait Dr. Strangelove captures perfectly, as a B-52 bomber “mounts” a KC-135 Tanker in mid-flight.
The remaining reasons I have pursued this film as inspiration for our title sequence concerns it overwhelming simplicity, yet maintaining dynamic impact all the same. So although we may not necessarily incorporate planes within our opening sequence, soaring through the air, we plan on capturing this simplicity in a way that anchors and reflects our psychological thriller genre. In terms of sound, the contrapuntal, American alteristic non- diegetic sound serves as an effective anchorage for the upcoming film, as this could satire the stupidity of war, and the fact it is ever going and omnipresent.
Watchmen
Watchman, on the other hand, presents a new, jaded world. This is fundamentally captured through the cinematic frameworks, that being mise-en-scene, editing, cinematography and sound. The title sequence suggests how life has fallen through new tangents, which has thereby altered society’s minds and perception upon the world. As a result, this universally affects the psyche, something that co-links with our films genre. The sequence fundamentally presents the beauty and malevolence in life all wrapped into- the torn disposition of our protagonist.
This theme entwines with the over-dubbed non-diegetic sound of Bob Dylan’s The Times Are-A Changing, a song which lyrically mirrors how people are progressing too fast for the world, which will inevitably lead to its downfall. This similarly anchors our protagonist’s psyche, someone who cannot keep up with the world’s progress, and therefore slips between the cracks of life.
In this sense, the opening sequence should serve as some form of metaphor for the lead protagonist; so therefore, it should mirror the genre, our patient and the world within our film.
The only chink in the armour here concerns the complexity of Watchmen’s opening title sequence, rife with special effects and CIG. It appears however that dynamic impact can also be presented through simplicity, as seen in Dr. Strangelove. Therefore, we will have to entwine features from both film’s title sequences.
No comments:
Post a Comment