Perhaps the studio bosses, in their attempt to appease the lowest common denominator of the movie going public taste, were fearful of introducing any bold designs. Nevertheless, the graphic designs of the 1930-50 period were very conservative and unimaginative. McKnight Kauffer, an American graphic designer living in London, to create the new title art, with text in Newland typeface, which was inspired by the German Expressionism. ![]() But, more importantly, from a graphic design perspective, he contracted E. Montagu reduced the intertitles from 400 to 80, and had Hitchcock reshoot segments of the climactic chase scene. Woolf, the chief of Gainsborough studio, was not impressed with the Hitchcock work, and found the movie too arty! As a result, Ivor Montagu, a Cambridge educated film editor, was commissioned by the producer Michael Balcon to correct film's short comings. The Lodger, : A Story of the London Fog was the third film of Hitchcock - but was his first to be seen by the public due to studio politics. Perhaps it was in 1927 that modern graphic design appeared for the first time in the titles of a movie. Stuart Blackton who directed “Humorous Phases of Funny Faces” (1906) created one of the first animated opening title.ĭie Abenteuer des Prinzen Achmed, Lotte Reiniger, 1926Īlfred Hitchcock, The Lodger: A Story of the London Fog (1927) These cards were the responsibility of the lettering artist, who collaborated with the scriptwriter and director to create narrative continuity so that audiences could follow what they were seeing. In addition to hiring lettering artists, the prominent film studios began to employ typesetters in the production of title cards. Film titles made their appearance in the earliest silent films, along with letter cards (or inter-titles), which provided context. Words and lettering played an enormous role in films of the silent era. These were cards with printed material on them that were photographed and incorporated into the film. The earliest titles, for silent films, were presented on title cards. With the advent of "nickelodeon" theaters around 1905 which were showing thrillers like "The Great Train Robbery," the magic-lantern quickly disappeared and the age of silent movies began. ![]() The slides, which were often animated had a narrative that were unusually written on cards that were predecessors to today's film titles. Later on, he created a vast repertoire of 250 illustrated stories, songs, history lessons, and rituals as part of his publisher's effort to make great literature available on screen to the public at large. Joseph Boggs Beale (1841-1926), was America's first great lantern artist, who as a young man in the 1850's attended several "Christmas" magic-lantern shows in Philadelphia church halls. The lantern projected hand-colored slides on a full-sized screen. ![]() By the end of the nineteenth century, magic-lanterns were quite prevalent public entertainment. The history of film titles goes back as far as vaudeville theaters, where main titles were originally produced by the magic-lantern or the first projector, which was invented in the 1650s, probably by a prominent Dutch scientist, Christiaan Huygens. ![]() But more importantly the titles must prepare the viewer for the viewing of the film. Producer, various actors and other artists and technicians that have worked on a film. The main function of film titles is to display the movie's title and to credit the director, Hobbes Takes a Vacation, Henry Koster, 1962
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