While title sequences come in all shapes and sizes, it is of course inevitable that similar topics and themes will emerge from the pile. These don't necessarily have to be genre-specific and in fact, their ability to transcend film genres is part of the lasting appeal. Consider the Saul Bass school of graphic animation and the many genres that particular aesthetic has been applied to, from comedies and romances to thrillers and capers. The detail-oriented montage is another example, where the audience is introduced to themes in a film or information about its players through relevant close-up or overlapping imagery.

Whether by accident or due to a trend, these categories are born from ideas with universal appeal and are often broad in scope: graphic animation, nostalgic influence, situational type (in which the titles are integrated realistically into live-action footage), photomontage, and so on. Microscopic and inner worlds are also common topics, embracing both the mechanical and the organic – and, sometimes, a combination of the two.

There are certain narrative, technical, and graphic techniques for which title design is an ideal venue. Because of its short format and creative license – and sometimes because of their budgets – title sequence real estate is often used to explore elaborate, abstract worlds previously unknown or unseen, letting us see the world in a different way, or conjuring up worlds of their own. For this reason – combined with an enduring human fascination with how things tick – Inner Workings is a theme that is frequented by a broad spectrum of genres (though, to be fair, most often associated with sci-fi and fantasy).

The following are a collection of some of our favorite sequences under this umbrella, selected not only for their superior execution but also their creative significance and contribution to the craft.

CHASSEURS DE DRAGONS

Created by Macguff Studios for Guillaume Ivernel and Arthur Qwak’s animated fantasy adventure, the title sequence to Chasseurs De Dragons is a steampunk wonderland, populated with intricate, animated clock components, foreign nautical contraptions, skeletal remains, and cartographic and cosmic imagery, all bathed in a warm firelight and explored by a single graceful camera move.

The sequence begins with the camera pulling away from the film’s opening scene and back through the eye of a dilated porthole, locking the audience into a world that is both microscopic and panoramic. The imagery is ethereal at first, with bundles of gears orbiting around each other as celestial bodies do, backed by parchment illustrations of fantasy worlds and arabesque patterns, dotted with illuminated constellations. Over time, the imagery becomes more concrete, slowly escorting the audience out of the sequence and back into the story.

HOLLOW MAN

Borrowing from the distinctive look of microscopy and photomicrography, the Hollow Man titles rely on a simple premise and clean execution to convey their message. The full sequence takes place in a petri dish of sorts, with the title cards arranging themselves from an alphabet soup of microbe-like letters swimming amid other microscopic elements.

Directed by William Lebeda at Picture Mill, it's an apt introduction to a film about human transformation on the molecular level.

GHOST IN THE SHELL

A classic upon its release, the title sequence to Ghost in the Shell is a curious mix of 8-bit type animation, then-hi-tech CGI, dreamy anime and naked torsos, all set to composer Kenji Kawai's intimidating, minimalist score. It follows the construction of a cyborg from the inside out, first embracing a cold, tech-heavy aesthetic as the robot’s inner-core is assembled, feathering into softer imagery and warmer colors as the cyborg takes on a more human form, soon emerging from the mechanical womb as a young woman.

SPLICE

As beautiful as they are grotesque, the main titles to Vincenzo Natali’s 2009 sci-fi thriller are impossible not to watch, but perhaps more difficult when it becomes apparent that the setting is some kind of fluid-filled womb, with the titles literally grafted to the inner walls as a cancerous growth. The walls themselves appear to be made of different types of organic matter – mammalian, reptilian, some even plant-like. A thick field of suspended particles reminds us that we are in the equivalent of amniotic molasses, escorted by a single light through caverns of ambiguous organic matter.

Designed by Kook Ewo and realized at Chez Eddy after an extensive pre-production process, the titles effectively set the tone for the film while familiarizing the audience with its own brand of genetic cloning.

HELLBOY II: THE GOLDEN ARMY

Combining a single, sweeping camera move with a jarring number of near-concussions as cogs and wheels self-assemble within inches of the viewer, the title sequence for Hellboy II is, essentially, a carnival ride through a mechanized version of hell, with a brief detour into a graphic, da-Vincian purgatory. Created by Double Negative for Guillermo del Toro's arguably superior franchise sequel, the machine eventually forges the components of the Hellboy II logo – and, analogously, of Hellboy himself.

I'M A CYBORG, BUT THAT'S OK

Unlike the Hellboy II titles, in which cogs and other mechanisms are rendered with a very tactile, heavy aesthetic, I'm a Cyborg, But That's OK addresses a similar subject matter from a different angle. Here, the machinery is treated delicately, given an almost translucent x-ray quality, with compositions and movement leaning towards abstraction. Situational type is integrated into the machinery, fixed to cogs and wheels passing through frame.

This sequence plays on viewer's expectations by first presenting itself as heavy-handed, undermined somewhat by Yeong-wook Jo's Elfman-like score. The palette is cold and dark throughout, only at the end rising into the warm analog glow of light bulbs arranged in showboat display around a central cog, topped by the main title itself. The score – which had previously seemed menacing – now assumes a carnival-like quality, without ever changing tempo. This contrast and confusion of intent establishes a theme which is carried throughout the film.

I, ROBOT

At first mechanical, then microscopic, then electric and, finally, aquatic (or perhaps cosmic?), Picture Mill's artful opening sequence to Alex Proya’s 2004 adaptation of Asimov’s seminal novel is nothing if not ambiguous, presenting some of the film's core themes through abstraction and detail, sealed with a unified color palette and a fluid, single-shot camera move. This abstraction, however, is soon challenged by reality, as the audience is pulled from the dreamlike ambiance of the sequence into the film’s chaotic underwater opening.

GAME OF THRONES (read full article)

A fiery astrolabe orbits high above a world not our own; its massive Cardanic structure sinuously coursing around a burning center, vividly recounting an unfamiliar history through a series of heraldic tableaus emblazoned upon it. An intricate map is brought into focus, as if viewed through some colossal looking glass by an unseen custodian. Cities and towns rise from the terrain, their mechanical growth driven by the gears of politics and the cogs of war.

From the spires of King's Landing and the godswood of Winterfell, to the frozen heights of The Wall and windy plains across the Narrow Sea, Elastic's thunderous cartographic flight through the Seven Kingdoms offers the uninitiated a sweeping education in all things Game of Thrones. —Will Perkins

FIGHT CLUB (read full article)

Realized by VFX house Digital Domain, under the visual direction of Kevin Tod Haug for David Fincher's post-punk soliloquy, irreverence and lack of context are perhaps this sequence’s greatest assets, aided further by a mash-up Dust Brothers score cranked to 11 and a rave-flyer-inspired sans serif typeface designed by the late P. Scott Makela.

In the sequence, we follow a path outwards from the “fear center” of our protagonist's brain, moving through various cerebral micro-landscapes and exiting a skin pore, gracefully ending between the sights of a Smith and Wesson 4506 pointed into his mouth.

This immediate relationship between cause and effect – where the source of fear is linked directly to the chemistry behind that emotion – establishes that the violence in Fight Club is not trivial. For as many times as the movie-going public has seen a gun in someone’s mouth, they've never considered its tangible emotional weight – at least, not to the visceral extent of Fight Club. It's a sentiment that isn't easily forgotten during the film’s many, many fight scenes.

DEUS EX: HUMAN REVOLUTION (read full article)

Adam Jensen is dying. The blinding lights of an operating theater melt away in a mechanical fever dream of pleading voices, surgical tools, and rent flesh. Memories of lost love flash between images of a broken and dissected form, while shattered limbs and failing organs – the embodiment of Jensen’s flawed humanity – are replaced with the cold perfection of carbon fiber and silicon. A body restored, a soul fractured – but what remains of the man? A corporate thrall bound to unseen masters or a transcendent being gifted with the power to change everything?

Echoing the central motif of Eidos-Montreal’s video game – the merging of the real and artificial – Goldtooth Creative’s stunning title sequence for Deus Ex: Human Revolution seamlessly blends both live-action and computer-generated imagery to introduce players to a world at the dawn of a cybernetic renaissance. —Will Perkins

INNERSPACE

Contained almost entirely within the structure of a single ice cube, the title sequence for Joe Dante's underrated sci-fi comedy Innerspace takes viewers on a fantastic molecular voyage from the bottom of a scotch glass to the hands of a swaggering hotshot. Foreshadowing the film to come, a simple change in scale transforms the ordinary into the alien. Frozen water becomes a shimmering crystalline maze of glacial hydrogen and oxygen, while the chatter of a cocktail party is depleted to become little more than abstruse reverberations — an infinitesimal world reconstructed with every clink of the tumbler.

As Wayne Fitzgerald and David Oliver Pfeil's martial titles contrast against the coruscating background the longest drink pour in movie history concludes, introducing us to future micronaut Lt. Tuck Pendleton. —Will Perkins

GHOST IN THE SHELL 2: INNOCENCE

The title sequence for Ghost II follows in the footsteps of its predecessor, virtually recreating it with a more polished, up-to-date aesthetic, even dusting off Kawai's already-famous score. But Ghost In The Shell 2 is still an accomplishment in its own right, once again pushing the limits of then-current CGI while servicing a simple, effective premise.

“One final thing I have to do… and then I’ll be free of the past. “ —John ‘Scottie’ Ferguson

There is a threshold in art and design where a work can become so iconic as to transcend its own scope and become a symbol for its medium. Consider Warhol’s soup cans or Mondrian’s color fields, or – to bring it closer to home – Saul Bass’ iconic AT&T or United Airlines logos. And just as it would be difficult to find an American unfamiliar with these works, so too would it be difficult to find a moviegoer unfamiliar with the title sequence to Vertigo. Credit Bernard Herrmann’s haunting score or Bass’ odd synthesis of sensual Kim Novak closeups and spirographic imagery, but it’s likely an alchemy of the three that makes the Vertigo titles an enduring classic.

The spirographic images (called Lissajous waves, technically) were contributed by artist John Whitney, a pioneer of computer arts and a long-time animator at UPA, a commercial animation studio well-known for their modern aesthetic and experimental techniques. (In fact, Bass would again use a UPA alum, Bill Melendez – best known as the Peanuts sole animator – three years later in his sequence for It’s a Mad, Mad, Mad, Mad World.)

While seemingly unrelated to the story and perhaps even too modern for their own good, Whitney’s contributions to Vertigo were validated by Bass’ graphic direction and Hermann’s score, folding his designs into their tried-and-true audio-visual template. The resulting sequence is a landmark work both for Bass and the title industry, framing the film’s premise through evocative-yet-unlikely imagery and Hitchcock’s unique branding eye.

WRITER: Ben Radatz

"I think I must have one of those faces you can't help believing." - Norman Bates

It's safe to say that after half a century of critical writing about Psycho, there are few stones left unturned. The same can also be said of Bass' now infamous opening title sequence. Designed on a $21k budget, it is likely his most significant and familiar accomplishment in the eyes of cinephiles and laymen alike.

Admittedly, Bass does not give his audience much to work with. Like the minimalists who came before him and his modernist contemporaries, Bass' favorite route from idea to execution was usually the shortest — and there are few routes shorter than the one taken in Psycho. He uses a series of simple white bars to usher in the sans-serif titles and escort them back out again. Although these lines come from different areas of the screen, they never once break formation or intersect. Likewise, the animation of these lines and the type itself are just as reserved — every object has a path from which it does not deviate. On, off, left, right, up, down, black, white — those are Bass's self-imposed restrictions on Psycho, and he employs them with dramatic effect.

There are two major currents running through Psycho: contrast and tension. Antagonist Norman Bates' dual personality provides the contrast, and the caper (or the Macguffin, as Hitchcock would have called it) brings the tension. In many ways, the film succeeds because it doesn't stray far from these core elements. There is very little comedic relief, for example. Romance and interpersonal relationships are little more than props. As far as plot husbandry goes, Psycho is about as streamlined and fuel-efficient as they come.

Therein also lies the brilliance of Bass' title sequence. In the space of a few short minutes, with his minimal toolkit and Bernard Herrmann's jagged score, Bass creates a parallel visual tension to the film that tells the audience everything they need to know about the plot, without saying much of anything at all. He artfully sets the tone by asking the viewer to read between the lines -- quite literally -- but he also asks that we read into them.

I can think of no better way to enter a Hitchcock film.

WRITER: Ben Radatz

"There'll come a time when all of us must leave here..." - George Harrison, The Art of Dying

Like sighs from a scythe in a wheat field of psychosis, the opening title sequence for Gaspar Noé’s Enter the Void is a melting onslaught of typographic design foisted upon the senses. This unrelenting visual overdose hacks pleasurably at the viewer, as the tip of a nail does finding its destiny. Names become bright little deaths fired to a machine gun beat; the images encircle your pupils as LFO’s "Freak" drives the nail deeper.

To celebrate the release of the long-awaited book Saul Bass: A Life In Film & Design, I put together a brief visual history of some of Saul Bass's most celebrated work.

Saul Bass: A Life In Film & Design, by Jennifer Bass and Pat Kirkham, is available on Amazon.

The Museum of Modern Art (MoMA) will also celebrate the life of Saul Bass with a film screening and talk on Monday, November 14, 2011, at 7:00 p.m. This special event features the New York premiere of Saul and Elaine Bass's Academy Award-winning short Why Man Creates (1968), newly preserved by the Academy Film Archive, as well as a rich selection of title sequences, commercials, and corporate campaigns.

Among the evening's guest presenters are the book's author, Pat Kirkham, a distinguished design historian who knew Bass personally; Chip Kidd, the award-winning contemporary graphic designer and writer noted for his brilliant book covers; and Kyle Cooper, a legendary graphic designer in his own right, with such unforgettable film title sequences as Se7en, X-Men: First Class, the Spider-Man trilogy, and countless others.

Full details here: The Academy and MoMA Present Saul Bass: A Life in Film & Design

- Ian Albinson, Editor-in-Chief

"I sent my soul through the invisible, some letter of that afterlife to spell: and by and by my soul returned to me and answered, ‘I myself am Heaven and Hell.’" - Omar Khayyám (from the Rubaiyat of Omar Khayyám)

A spectral camera soars languidly through a deep valley, conjuring up images of the American frontier: towering mountains, evergreen trees, and serene water lucidly captured through a wide-angle lens. Sweeping across the landscape, the camera begins to follow a tiny yellow VW Beetle making its way up a winding road carved into the steep mountain cliffs. The lens frequently relegates the car to only a fraction of the frame, revealing how minuscule the vehicle is against the grandeur on which it is trespassing. This bird’s eye chase foreshadows the events that await the Torrence family and the film’s harrowing themes of isolation and madness.

After being offered The Exorcist and its sequel, Exorcist 2: The Heretic, the iconoclast filmmaker, Stanley Kubrick, declined both and opted instead to adapt a story from Stephen King’s novel, The Shining. The title sequence introduces viewers to Kubrick’s unorthodox vision of horror, as haunting landscapes and unnerving score combine to cause an ineffable unease. By discarding genre tropes such as creaking doors, spiderwebs, dark corridors, and excessive blood, the title sequence outperforms convention.

The stunning mountain ranges were filmed by Greg McGillivray (from MacGillivray Freeman Films), a cameraman personally chosen by Kubrick.

From the book Kubrick by Michel Ciment:

The aerial shots share many characteristics with the hotel footage filmed using the Steadicam, a stabilizing camera mount pioneered by Garrett Brown. Kubrick’s innovative use of the Steadicam on The Shining was considered groundbreaking, and the seemingly effortless gliding motions and long takes afforded by the system closely echo the title sequence. This hitherto untested stylistic choice imbues every move of the camera with a sense of tension and dread. Unaware of what lies around the next curve in the road or hallway corridor, viewers are lured deeper and deeper into the world of the film.

Unusually, the title sequence for The Shining also employs rolling credits, a design element normally reserved for end credits. When paired with the unsettling musical score, the austere Helvetica typeface — cryptically colored a hot blue — seems immediately at odds with the pristine wilderness.

Dies Irae (Latin for Day of Wrath) is the name of the 13th century Gregorian chant re-envisioned by composers Wendy Carlos and Rachel Elkind for the title sequence. Their modern take establishes the haunting atmosphere using the sounds of an electronic synthesizer — a common trope in many subsequent horror films. The synth fades in and out periodically, allowing a Native American ritual hymn to enter. The shrill wail of sirens pierce the vast sky and add to the uncanny mood.

Like many of cinema’s most notable title sequences, the introduction to The Shining touches on themes later addressed in the film. For a celebrated and chronicled filmmaker such as Kubrick — known for his trenchant observations and perfectionism — myriad readings can be taken from viewing this opening. Jack Torrence’s ascent into the celestial Rocky Mountains is also a descent into the depths of his own personal hell; the lonely and strangely claustrophobic mountain road is the first of many labyrinthine constructs the film forces the Torrence family into. Here Kubrick introduces the viewer to an uncharacteristic form of horror: the domestic kind. When stripped of its supernatural elements, The Shining is an all too familiar tale of abuse, alienation, and paranoia.

WRITER: Shaun Mir
© Art of the Title, 2011

A solitary shell placed carefully by dark hands sets the stage for a bunraku play of prehistoric ages past: papier-mâché cephalopods give way to darting sea creatures and lizard beasts locked in combat. Humanity is introduced as the style changes to the two dimensional and animated cave paintings begin to slaughter one another with newly discovered weapons. Time progresses further and mankind’s weapons grow increasingly efficient, requiring less and less effort to kill and maim.

Utilizing varied styles of stagecraft to denote each passing era and narrated by a deep and commanding voice, Guilherme Marcondes’ title sequence for Guy Moshe's Bunraku brings us forward to the time of our story. A tyrant strides forth with his axe and an army stands in formation.