Observations on film art » It’s the 80s, stupid » Print. Choose Me. DB here: In an earlier post, I proposed that film historians can’t safely assume that decades mark off meaningful periods. Yet I can’t help succumbing to the temptation myself. It happens every time I hear about how the 1970s were the last great decade in American film. We’re often told that back then, countercultural forces gave us movies of restless auteur ambition like Five Easy Pieces and Nashville and Mean Streets and Shampoo. Then, the story goes, came the age of the blockbuster.
The glorious burnout This judgment is spelled out most fully in Peter Biskind’s Easy Riders and Raging Bulls, a celebration of and postmortem on the Movie Brats era of the 1960s-1970s. Hal Ashby did die just after Christmas, on a raw, rainy Tuesday. . . .The papers said it was liver and colon cancer, but it could just as well have been a broken heart. (1) Forgiving the flaws of these all-too-human directors, Biskind spares no sympathy for the producers who focused on the bottom line.
Near Dark.
Top 10 Body Horror Movies. Main/Body Horror. Gilbert's Media Studies blog | A site devoted to Media Studies. Watch the Titles - Collection - Film title sequence. Art of an Indie Title Sequence | Kylee Wall – Video Editor. Well, I wasn’t expecting to post about this for a few months, but since it was unveiled, I can now. I finished work on the opening title sequence for the upcoming film Ingenue, directed by Kate Chaplin. Kate decided to drum up some excitement by posting the sequence now while the film is still in the finishing stages of post. Here are some mildly interest notes about how it was conceived. I love title sequences, but I’ve never really made one properly before.
Ingenue is the story of a couple who finds a human clone in their basement and has to raise it and teach it what it means to be a woman. The femininity is abstract and literal. The DNA stuff at the beginning was Kate’s conception. This is the first time I’ve ever edited a piece that was totally silent and had music scored to it. And some quick behind the scenes of the actual creation. The lab stuff was shot by me at IUPUI’s School of Science in August. The random girl body parts are my friend and regular actress Sarah Hoback. The Best Title Sequences..., a list of films by MONIROM. Suggested by Daniel Maitland, Both Spiderman 2 and The Incredible Hulk Opening Titles can technically be considered Prologues, the same name Kyle Cooper chose for his most recent company.
He proposed integrating the credits fully into an opening that would serve as the main title as well as encapsulating Peter Parker's and Bruce Banner’s story. Never one to repeat himself literally, In Spiderman 2 it was done with illustration, in The Incredible Hulk with photography and live footage. The fact that both yielded such good results, lends credibility to the myth that many directors now don't want to work with Kyle Cooper -- for fear that the film will be overshadowed by the opening credits. FACT: Cooper actually did the titles for all three of Raimi's Spiderman movies as well as the original design on the flipping comic book page logo for Marvel.
Spiderman 2 Opening Titles-Credits The Incredible Hulk OpeningTitles- Credits. Bunraku Opening preview (The Narrator: Mike Patton) Draft: Title sequences and their role in the commodification of film/tv culture | MA GMI 2012. As I’ve developed my argument through the process of actually writing, rather that doing a plan first (maybe this hasn’t been the easiest way to do this…), I’m posting my draft up here, in case anyone has the patience or is curious enough to want to read it. Any comments very welcome, although don’t feel obligated – I am putting it up also as a record on the blog of the development of my thinking, as the next stage on from my previous post with its list of seemingly unconnected questions.
PS – I’ve not yet included any of my quotes or references to the title sequences I will be using as illustrations… Thanks all :-) Title sequences, synonymous with cinema but also now becoming more elaborately used in television, can be seen as part of the packaging of films and programmes, an expected prelude to watching the main piece. So in what way are title sequences important in the process by which film/tv or other cultural artefacts are commodified – turned into marketable/sellable commodities? Film Title Sequences | Laurent & Augustine | Advertising. The other day and that, I was like totally watching Reservoir Dogs. I completely forgot how good that film was, from its fantastically simple plot, great casting, unexpected soundtrack and iconic title sequence.
It got me thinking about the important role a title sequence plays towards the success of a film. It then got me thinking about some my favourite title sequences. I then started thinking of american style waffles, but thats another story. Here is a small handful of my favourite film opening sequences, starting with Reservoir Dogs. Dexter – A series about a Police blood spatter pattern analyst who leads a secret life of a serial killer. Naked Gun – If you haven’t seen the Naked Gun Films you are a boob. Monsters inc – Some smooth, smooth jazz with a Saul Bass twist. Lord of War – Wonderfully simple idea and good execution. Last but not least, Foundation skateboards – That’s Life.
Greatest Guy Movies of All Time. Greatest Guy Movies of All-Time: Guy movies often feature contests (conflicts or games), hot cars and women, road trips, sexual initiations, male bonding and buddies, profanities and obscenities, and excessive action fight-explosion sequences. They usually include lavish doses of brutality, ultra- or cartoonish violence, various vulgarities, competitiveness, races, blunt humor, trite dialogue, and scenes with naked males and females. The themes and content of these time-wasting, 'macho' or 'guys' films appeal most to male audiences. The three most common areas included in male-oriented flicks are: sophomoric humor and raunchy dialogue (with mean-spirited putdowns, body-related comedy, profanities, and obscenities) various bloody, kick-ass, violent fight sequences - often explosively lethal with high body counts scenes of female conquest (with accompanying gratuitous nudity and sex) The Godfather films, and Apocalypse Now (1979).