Theory and Practice
In the late 1950s Saul Bass almost single-handedly initiated a Renaissance in the design of film credits. His titles for That’s Entertainment II summarize many of the techniques of traditional movie titles, which were inherently self-reflexive. In classical Hollywood, titles were kept to a minimum—used to identify the studio rather than an individual film. In Bass on Titles, the designer talks not so much about his theory of film titling; rather, that film is more of an advertisement for his titles. Bass’s title designs were based on a grid structure with strong horizontal and vertical symmetry and sans serif typefaces for legibility. His titles for Psycho, Goodfellas, Bonjour Tristesse, and other films were composed graphically in two-dimensional rather than three-dimensional space, even when the titles were animated.
Kentucky Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.