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Film titles are essential to meaning. From my own primary research beforehand I d iscovered the titles keep to a specific font, colour and style. Moreover, the titles a lways keep to the ethos of the film itself. In previous experiences I have challenged the use of conventional and striking titles. Such as in the AS course, I worked with c reating diegetic titles, similar to that of ‘School of Rock’ and ‘Kick-Ass’. I also worked w ith After Effects, though not to a great extent. From this experience I intend to Extend my After Effects knowledge and create striking titles for my theatrical trailer. Hence, I’ve researched deeply into film titles from most genres.
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SUPERHERO TITLES
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COMIC TITLES The title sequence for Batman (1966) and the Batman TV series was celebratory of the classic comic books and kept a light-hearted feel. The use of pop art and animation is aimed particularly at younger audiences, predominantly 7 – 11 year olds. The title sequence for Spider-man 2 is thrilling and dynamic. It effectively creates a comic book feel and still manages to represent itself has something original outside of the comic book. This sequence is also noticeable in other media, a primary exemplification being Grand Theft Auto , a variety of cartoons appear during the loading screen of each videogame in the highly successful series. The title sequence for Sin City also celebrates the original comic books like Batman and keeps with the pop art and style originally created. However, the cartoons aren’t animated and instead the pictures only scroll across the screen. Furthermore, the lack of colour creates a dark mood to the film and in effect emphasises the coloured titles. Conclusively, the use of this title sequence is dark, gritty and emphasises the neo-noir style of the film as the sequence is fairly one dimensional. The title sequence for Kick-Ass is interesting as it keeps exactly to the themes of superheroes and plays on the typical Superman motif of flying through the sky; the audience is given a first-person view and immersed into the experience of flying.
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CLASSIC TITLES The James Bond title sequence is an instant c lassic title. The noir e ffect and swirling t unnel creates absurdity. Furthermore, the large s platter of blood which c overs the screen e mphasises the obvious d eath James Bond h as caused. The Pink Panther title sequence is light-hearted and comical. The handwritten titles and eloquent c olours fit exactly with the TV series. Moreover, the classic soundtrack featured in the series is also present here. Essentially, this sequence keeps with the feel of its inspiration and epitomises the forthcoming humour expected. The Flash Gordon title sequence is action packed and frankly, a mess of scenes. The titles fly onto the screen and are later accompanied with videos of d estruction. The continuous display of cartoons from the original comic book also sets up the cartoonish style of the film. The Bonnie and Clyde title sequence is simple yet classic. Considering the gruesomeness suggested by t he scenes of the film, the slow switch from the white titles to red effectively exaggerates the horror and change of character traits.
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IDEAS From the research, I have discovered many interesting techniques and effects that would f it perfectly for my film. However, I only wish to take inspiration and instead create something original. The cartoon style from most of the title sequences I researched is a definite possibility considering the cartoon and surrealistic style I have acquired during the pre-production of my theatrical trailer. Furthermore, I also enjoyed the stylistic features of particular sequences such as Spider-man 2 and classic sequences like James Bond . If my titles are interesting and intriguing, it will easily stand out to audiences and appeal them to my film .