• Title, Summary, Keyword: Opening title sequence

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Kinetic Typography in Korean Film, 2012 (Study on the movie opening title sequence expression studies using kinetic typography) (키네틱 타이포그래피를 활용한 영화 오프닝타이틀 시퀀스 표현연구(2012 흥행작 중심으로))

  • Bang, Yoon-Kyeong
    • Cartoon and Animation Studies
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    • pp.227-248
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    • 2013
  • With the advancement of computers, opening title sequences in movies are continuously improving. Initially, titles and opening credits were created using what is called the optical method, whereby text was photographed on separate film and then copied onto the movies film negative. In contemporary movie making, however, the title sequence may be seamlessly integrated into the beginning of the movie by an insertion method that not only allows for more diverse technical expression, including the use of both 2D and 3D graphics, but also for its emergence as an independent art form. As such a title sequence, in as little as 50 seconds or up to 10 minutes, is able to convey the films concept while also suggesting more implicit intricacies of plot and thereby eliciting greater interest in the movie. Moreover, according to the directors intent and for a variety of purposes, the title sequence, while maintaining its autonomy, is inseparable from the movie as an organic whole; therefore, it is possible to create works that are highly original in nature. The purpose of this study is to analyze the kinetic typography that appears in title sequences of ten films produced by the Korean entertainment industry in 2012. Production techniques are analyzed in a variety of ways in order to predict the future direction of opening title sequences, as well as present aesthetic and technical models for their creation.

A Research on Motion Graphic by Opening Title Sequence of Korea Movie (한국영화 오프닝타이틀 시퀀스를 통한 모션그래픽에 관한 연구)

  • Choi, Ji-Hye;Kim, Chee-Yong
    • Journal of Korea Multimedia Society
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    • v.13 no.4
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    • pp.618-625
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    • 2010
  • Receiving information and transmitting it is the most basic and important thing in numan society. And modern communication is not only transmitting objective information but also a visual communication which shows feeling of each emotions and image-motive. Introduction of Motion graphic which was grown by new media changed opening title sequence to a more expanded genre. The purpose of this research is to announce the new value of opening title sequence. Motion graphic will be used continually as an important way to communicate and also a guideline which could transmit exact informations and emotions to viewers with creative expressions.

Visual Rhythm of Thriller Movies's Opening Title - Focusing on Identity (스릴러장르 영화 오프닝 시퀀스의 시각적 리듬 - '아이덴티티(Identity)'를 중심으로)

  • Shin, Seung-Yun;Sung, Bong-Sun;Kim, Jae-Ho
    • Journal of Korea Multimedia Society
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    • v.13 no.9
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    • pp.1365-1372
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    • 2010
  • Information of video can be percieved as the form of visual rhythm through temporal ordering systems. The shot, the base unit of video analysis, affects audience psychologicaliy with various temporal combination. Here, psychological stress and density of the story can be adjusted by the point of view shot of character. Acordingly the correlation analysis of shot duration and point of view shot can be useful for visual rhythm research. Identity one of the thriller genre works was selected for analyzing. This works produced by Kyle Cooper, a famous person in the opening sequence field. This works produced by Kyle Cooper, a famous person in the opening sequence field.

An Analysis on the Title Sequence of Disney Full-length Animation (디즈니 장편애니메이션 타이틀 시퀀스 분석)

  • Kim, Seol-Mi;Kim, Kyu-Jung
    • Cartoon and Animation Studies
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    • pp.183-214
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    • 2015
  • For a long time, Disney has made animations including world views such as family-focused, conservative ideology, happy ending, etc. for families. Periodical situation and spectators' demands have been changed little by little, but Disney is still a company who is the most successful both nominally and virtually in animation industry. For the secrets of their success, there is fantasy world of fabricated animation, thoroughly organized story and image. When spectators watch animations, their sufficient immersion in the fantasy is to let them forget realities. In the introduction of Disney animations, spectators turn off the switch of realities and turn on the switch of fantasy world through the procedure to recognize and confirm virtual world sufficiently. In the switch of the introduction used frequently by Disney, there are four methods. First is to start while opening the cover of storybook. Second is to start while storyteller gives a talk directly. Third is to start with live action film and continue to animation. Fourth is musical method. Those four switches play a role of the gate which distinguishes spectators' realities from Disney's fantasy clearly. The process makes an opportunity to set spectators who feel uneasy due to the vague boundary between realities and fantasy at ease and let them immerse in animation sufficiently with mind at ease.