Hello all,

I’m determined to somehow integrate my MPP interest in title sequences into this 1.2 essay and as such am trying to put a shape around a bunch of thoughts (well questions actually) to do with T.S.’s. Somehow I need to come up with a theoretical approach to my investigations – one that has relevance to graphic design discourse rather than just film theory or wider cultural discourse.

So to begin I’m afraid I’m going to splurge a pile of questions which have occurred to me further to reading and research. If you have any opinions or thoughts about how I might hammer this into some kind of shape, I’d welcome them.

To what extent can title sequences be more than packaging? What is the value of them as packaging – how do they extend the identity or brand of a film?

How do they function as waymarkers of taste and category? How does this help them commodify these cultural artefacts?

How can graphic design have a material effect on their success? What exactly is a successful title sequence? How do we measure this?

What could title sequences do if graphic design played a more significant role in their conception and realisation? How does this relate to authorship?

To what extent are they separate from films and how does this affect their modes of operation within culture? How do they speak for a film? How could they do so in the future and what conditions would enable this? Expanded cinema needs expanded titles?

What media can titles be applied to? Film, tv, events, theatre, books, e-books, feature articles?

What could designers do with more freedom/power in the equation?

To what extent is it preferable to use alternative media to represent other media? Eg illustration to represent live action, typography to represent live action. Is once removed more engaging?

Why do we need a prelude, something to signal that we should ready ourselves, something to get us in the mood? Why is the frame necessary? Is the frame integral to the “picture”? Derrida and parergonal (ie Kant’s parerga)?

Are titles an aesthetic “polish” that we are increasingly expecting? Are films unfinished without a pyrotechnic display to kick them off? How is ornament and framing important and how does it function and operate? Do we need to understand this better? Rescuing title sequences from the margins.

How do we manage our cultural identities through the films we watch and how therefore does a title sequence help us confirm or classify a film’s total experience?

How is a t s typographic sensibility distinct from the narrative sequences and time experience of a film? Even where live action is the dominant feature of the t s?