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minutes each for an OP (opening sequence) and ED (ending sequence). These will invariably feature pieces of vocal music, sometimes sung by members of the voice cast for the program, and will have unique animation that thematically serves to open and close the episode; often, guest animators will be brought in to direct and provide key animation for these sequences. The OP credits will usually include director, producer, animation director, studio, music, and OP animation credits: detailed staff and voice cast is almost always reserved for the ED. In anime produced primarily for an audience of young children,
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while in contrast some ever-popular shows have retained their original title sequences for decades with only minor alterations. Conversely, retaining a series' original title sequence can allow a producer to change many key elements within a programme itself, without losing the show's on-screen identity. Other variations include changing only the theme music whilst keeping the visuals or vice versa.
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138:. This innovation, in turn, influenced the 1960s television predilection for title design, resulting in the creation of strong graphics-led sequences for many television shows. Since then, the mediums of film and television have engaged in a kind of push and pull behavior, inspiring and spurring each other in different directions.
496:
series, opening and ending title sequences have evolved into a distinct art form in their own right: due to the running length of a half-hour block of programming on
Japanese television providing more time for the actual episode as opposed to commercials, an episode is able to budget one-and-one-half
106:
were used throughout to convey dialogue and plot, and it is in some of these early short films that we see the first examples of title sequences themselves, being quite literally a series of title cards shown at the beginning of a film. With the arrival of sound, the sequence was usually accompanied
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Although a title sequence may be modified during a series to update cast changes or incorporate new "highlight" shots from later episodes, it will tend to remain largely the same for an entire season. Some shows have had several quite different title sequences and theme music throughout their runs,
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Slowly, title sequences evolved to become more elaborate pieces of film. The advent of television was a pivotal moment for title design because it forced the major film studios to invest in making cinema more attractive in order to win back a diminishing audience. The "cast of thousands" epics shot
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There have been several such pivotal moments in title design history. The introduction of digital technologies in the late 1980s and early 1990s to film and television changed both industries, and accordingly the 1990s saw a resurgence in title design. Ironically, a key sequence in this resurgence
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Some series make minor changes to the title sequence of each episode, such as superimposing a different episode title on each one. Others make minor alterations to the content of the sequence itself, to keep them from being completely repetitive each episode and to reward attentive viewers. For
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In contemporary television news a title sequence can be changed every day, by including footage of that day's news with a presenter's voice "teasing" the items. This ensures that the title sequence appears fresh but still identifies the news program by its music and visual style.
359:
Title sequences for television series have routinely played a central role in establishing the show's identity. Repeated at the beginning of every new and rebroadcast episode, usually with limited changes over the course of the series' run, they can become highly memorable.
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before the curtains opened and long title sequences — all designed to convey a sense of gravitas it was hoped television would be unable to compete with. As cinema's title sequences grew longer and more elaborate, the involvement of prominent graphic designers including
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first aired in 1999, it was only the second hour-long television drama that HBO had ever produced. Its title sequence "helped lend the show a credibility and gravitas normally reserved for cinema, giving it a stronger foothold in the mind and memory of the audience."
455:. Because it is produced at the outset of a series, the sequence will usually include visuals taken from early episodes already shot when it was prepared. Short clips of key characters may be used to introduce them and to credit the actors playing them, as with
102:, simple title cards were used to begin and end silent film presentations in order to identify both the film and the production company involved, and to act as a signal to viewers that the film had started and then finished. In silent cinema, title cards or
351:'s name, and the title of the film. However, the title is shown by means of the camera slowly panning across the base of the statue of the dead king Hamlet, whose ghost will appear in three scenes of the film, and who will play a crucial role in the story.
84:
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526:"warming up" for the ballet. When the actual title appears on the screen we see Baryshnikov in his nutcracker costume and mask leaping into the air in slow motion and freeze frame. The "Overture Miniature" is heard during the opening credits.
82:
461:. In and around these elements may be other footage depicting the setting, or examples of scenes common to the show (e.g. car chases for a police drama, household activities for a sitcom, singing and dancing for a variety show).
615:, title screen, and title sequence have been a major part of video games for decades. However, it is only recently that game title sequences have been able to match the quality and fidelity of film and television titles.
200:, cut-out figures on a revolving turntable carried overhead banners which displayed the opening credits. This opening sequence was designed by John Harkrider, who created the costumes for the original 1927
115:
on various patent widescreen formats were a direct response to television's successful invasion of the leisure marketplace. Part of cinema's new prestigious and expansive quality were orchestral
66:, and helps establish the setting and tone of the program. It may consist of live action, animation, music, still images, and/or graphics. In some films, the title sequence is preceded by a
186:
As of the beginning of the 21st century, title sequences can be found bookending a variety of media besides film and television including video games, conferences, and even music videos.
81:
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Some films have employed unusual and fairly elaborate title sequences since the late 1910s; in
America this practice became more common in the 1930s. In the 1936 film
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in which he paid homage to a range of title sequences from earlier
Hollywood films and replicated several novelty title sequences from the 1930s including
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Title sequences can take a variety of forms, incorporating different elements. A song may summarize the backstory or premise of the series, such as for
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Film titles and credits usually appear in written form, but occasionally they are spoken instead. The first example of this in
American cinema was
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lyrics to the song will sometimes be provided at the bottom of the opening and ending sequences. For further information on anime openings, see
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443:. A title sequence will at some point badge the show with a typographic logo. Visuals may be used to quickly present the backstory, as in
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began to develop more cinematic experiences for television, including more elaborate and considered title sequences. For example, when
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537:
published a list of
American TV's top 10 credits sequences, as selected by readers. The series, in order of first to tenth, were:
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Since the late 1950s, film title sequences have been a showcase for contemporary design and illustration. The title sequences of
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Television specials, especially of classic works, sometimes contain unusual opening credit sequences. In the title sequence of
347:(1996) actually has no opening title sequence. The only credits seen at the beginning are the name of the production company,
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331:(1995) influenced a whole host of designers in the late 1990s. Its aesthetic has "been co-opted almost wholesale by the
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In several films, the opening credits have appeared against a background of (sometimes moving) clouds. These include
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ceiling. As the credits progressed, the camera slowly zoomed in on the Hand of God outstretched toward Adam.
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are among the best examples of this. They also inspired many imitators both in cinema and on television.
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522:, for example, we see closeups, freeze-frame and slow-motion shots of Baryshnikov and female lead
1020:– A compendium and leading web resource of film and television title design from around the world
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256:(1928). There are also a few cases in which titles and credits are sung, including the musicals
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played during the sequence may be remembered clearly by viewers decades later.
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861:"Novelty Title Sequences and Self-Reflexivity in Classical Hollywood Cinema"
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407:. Often a song will more generally set the theme of the series, such as for
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164:, which was created using primarily analogue means. The title opticals for
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1054:– Title sequence company, led by Richard Morrison and Dean Wares
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would feature a different message left on the title character's
161:
43:
888:"Beyond Saul Bass: A Century of American Film Title Sequences"
735:
Stanitzek, Georg (Summer 2009). "Reading the Title
Sequence".
173:
128:
became more common. The title sequence for Alfred
Hitchcock's
641:
games that have employed film-style opening title sequences.
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had the title following some gameplay setting up the story.
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in the title sequence of each episode (e.g. the couch gag).
134:
is generally cited as the first to feature extended use of
425:. An instrumental piece may be used the same way, as for
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62:). It typically includes (or begins) the text of the
607:Glossary of video game terms § title screen
1030:Detailed dissection of the title sequence for
27:Introductory sequence in films and television
8:
961:"A Brief History of Video Game Title Design"
743:(4). Translated by Aplevich, Noelle: 44–58.
655:Acknowledgment (creative arts and sciences)
914:Film Title Sequences: A Critical Anthology
838:"The Sopranos (1999) — Art of the Title"
916:. Pilea Publications. pp. 51, 60.
727:
1068:Film and television opening sequences
859:Allison, Deborah (27 November 2006).
7:
886:Allison, Deborah (30 January 2011).
783:from the original on March 20, 2009.
643:Professor Layton and the Lost Future
389:may serve the same function, as for
840:. Art of the Title. April 29, 2014
25:
1024:Forget the Film, Watch the Titles
939:"Se7en (1995) — Art of the Title"
796:"Se7en (1995) — Art of the Title"
818:"Cinema Research Titles (1990s)"
89:Title sequence of the 1932 film
771:"The Kinetic Typography Engine"
716:WGA screenwriting credit system
937:Radatz, Ben (April 29, 2014).
303:designed a title sequence for
1:
794:Radatz, Ben (July 10, 2012).
306:That's Entertainment, Part II
50:present their title and key
979:"Deus Ex: Human Revolution"
670:Cinema Research Corporation
611:The animated introduction,
503:Music in Japanese animation
204:production of the musical.
170:Cinema Research Corporation
98:Since the invention of the
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1073:Film and video terminology
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912:Allison, Deborah (2021).
685:Digital on-screen graphic
620:Deus Ex: Human Revolution
552:The Mary Tyler Moore Show
42:) is the method by which
107:by a musical prelude or
487:several unique elements
376:The Beverly Hillbillies
216:Till the Clouds Roll By
1078:Television terminology
680:Credit (creative arts)
321:'s title sequence for
265:Meet Me After the Show
95:
1003:. September 10, 2012.
605:Further information:
228:(1948), and the 1961
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48:television programmes
696:Montage (filmmaking)
660:Billing (filmmaking)
637:are two examples of
434:The Bob Newhart Show
1052:The Morrison Studio
985:. January 30, 2012.
967:. November 5, 2013.
665:Character generator
570:The Big Bang Theory
512:'s 1977 version of
510:Mikhail Baryshnikov
385:. Less commonly, a
335:as a house style".
259:Sweet Rosie O'Grady
941:. Art of the Title
892:Film International
865:Screening the Past
798:. Art of the Title
472:The Rockford Files
446:I Dream of Jeannie
410:WKRP in Cincinnati
136:kinetic typography
131:North by Northwest
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92:A Farewell to Arms
1038:Real "Ends" Final
923:979-8-5979-1094-9
749:10.1353/cj.0.0142
477:answering machine
452:Gilligan's Island
422:All in the Family
404:The Twilight Zone
282:In the 1959 film
244:Sinbad the Sailor
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16:(Redirected from
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1032:Space: 1999
897:15 November
871:15 November
711:Theme music
691:Lower third
635:Naughty Dog
601:Video games
514:Tchaikovsky
362:Theme music
349:Shakespeare
319:Kyle Cooper
262:(1943) and
239:Technicolor
158:Kyle Cooper
104:intertitles
60:music video
18:Main titles
1062:Categories
1045:Doctor Who
722:References
564:True Blood
516:'s ballet
387:voice-over
355:Television
253:The Terror
221:David Lean
144:main title
52:production
1043:Original
546:Get Smart
533:In 2010,
485:features
469:example,
392:Star Trek
382:Mister Ed
301:Saul Bass
299:In 1976,
273:Saul Bass
197:Show Boat
160:while at
122:Saul Bass
117:overtures
68:cold open
778:Archived
757:62638478
649:See also
639:Triple-A
535:TV Guide
315:(1937).
268:(1951).
213:(1939),
202:Broadway
142:was the
109:overture
945:May 16,
844:May 16,
802:May 16,
588:Mad Men
499:karaoke
312:Maytime
285:Ben-Hur
74:History
920:
755:
591:, and
576:Dexter
479:, and
440:Dallas
416:Cheers
344:Hamlet
781:(PDF)
774:(PDF)
753:S2CID
687:(BUG)
494:anime
437:, or
419:, or
401:, or
379:, or
328:Seven
241:film
190:Films
166:Se7en
153:Se7en
44:films
40:intro
947:2014
918:ISBN
899:2020
873:2020
867:(20)
846:2014
823:IMDb
804:2014
627:and
428:Taxi
275:and
162:R/GA
124:and
54:and
745:doi
633:by
623:by
492:In
449:or
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174:HBO
150:'s
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20:)
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