Credits where Credits Are (or Aren’t) Due: Why Nurse Jackie has the Worst Credits Sequence in Television. Credits where Credits Are (or Aren’t) Due: Why Nurse Jackie has the Worst Credits Sequence in Television January 3rd, 2010 When you write about television as much as I do, there are always ideas for posts floating around in your head – you get to the point where you can’t watch something without constructing a post around it, which can be somewhat daunting when you watch as much television as I do.
However, through episode reviews and Twitter, most of those ideas get to the surface, which is usually enough to satiate my critical appetite enough to keep them from overpowering the rest of my life. However, I don’t think I’ve ever quite said enough about one particular subject, because every time I think about it my blood figuratively boils. Before I get to why Nurse Jackie’s opening credits are so categorically awful, I want to give you my criteria for a good title sequence. Set Mood or ToneProvide a glimpse into the show’s worldIntroduce characters Credits Sequence: Six Feet Under Like this:
Feature | Overtures and psychotic symphonies. Title sequences have reached an unprecedented level of attention, with vast numbers of design studios dedicated to television and cinema motion graphics. Yet the history of the contemporary title sequence stretches back a generation or more, when Saul Bass and Maurice Binder laid the foundations for the modern form, and even earlier, to the short cartoon films of the 1920s and ’30s. Bass’s titles for director Otto Preminger’s Carmen Jones (1954) and The Man with the Golden Arm (1955) emerged at a time when popular music was consolidating its position as the dominant art form of the twentieth century. The musical impact of both films reflects the zeitgeist of the post-war era that marked the advent of commercial television and advertising – the engine room of consumer society in the us.
Television advertising, like the title sequence and the radio ad before it, was defined by music. Stalling retired in 1956 just as television was beginning to usurp the big screen. Dr No In Dr. Goldfinger. Title Design Project: Best of Motion Graphics. David Fincher: A Film Title Retrospective. Perhaps no other living director has done as much for the art of the title sequence as David Fincher.
The filmmaker’s work inarguably helped kickstart the title design renaissance of the 1990s, a revival that the medium still enjoys to this day. From the slumberous doom of Alien³ and the meticulous grotesquery of Se7en to the dreadful reminiscence of The Game, the electrical inner workings of Fight Club, and the majestic imposition of Panic Room, the director’s title sequences are as distinct from one another as they are distinctly the works of Fincher.
Throughout the many disparate worlds and settings of his films, Fincher’s audiovisual prosody remains unmistakable. There’s always a familiar rhythm at work, a recognizable but elusive metre in the mix. Sometimes it’s lurking just below the surface, other times it’s an inescapable barrage, hammering into your skull. Your films are known to feature interesting title sequences — would you say that you’re a fan of titles in general? Nope. L’arte degli opening credits | ITASA Blog. La sequenza dei titoli di apertura è una forma molto particolare di cinema: deve trasmettere lo spirito dello show televisivo pur rimanendo inalterato nel corso della stagione. E deve essere immediatamente riconoscibile per non dire memorabile! E’ sempre difficile fare classifiche, diciamo che qui ne presentiamo venti dei migliori. Alcuni di questi sono classici che resistono e sono ormai parte del nostro DNA di fan.
Altri si fanno ricordare per la musica utilizzata, che evoca immediatamente un ricordo legato alla serie. Game of Thrones La sigla è stata diretta da Angus Wall per a52 e la musica è stata composta da Ramin Djawadi, noto soprattutto in campo cinematografico (Blade, Iron Man, Scontro tra Titani). Lost Semplice, breve e desolato, quest’opening non ha rivelato niente di niente: perfetto per una serie così immersa nel mistero. 22 settembre 2004, vi ricordate? Battlestar Galactica Situazione particolare, giacché vi sono due sequenze per questa serie. Twilight Zone Knight Rider Firefly. Art of the Title. Motion + Design - English. Context: TV idents, film titles and credits, tablet computers, smartphones, advertising displays on TV screens... Motion design is already present in all parts of our lives. Yet, no place is dedicated to celebrating motion design. When we realised this, we came up with the idea of founding the world's first Centre dedicated to the world of motion design.
Our vision of the project in 3 steps: I / Open the world of motion design to the public: Free entry. The centre will be located in an affordable and accessible area of Paris to encourage larger numbers of visitors. II / To allow the plain curious, students, experienced practitioners and professionals to [re]discover artists and to meet with others. Every month the centre will welcome: → either an artist [Kyle Cooper for example, the current American king of title sequences] → or a production company team [Post Panic or Psyop for ex.] → or a theme [for example 'the history of motion design from the 1920s to the present day']