Title sequences
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It is distinguishable from a Golden Age sequence only by its use of zooms and pans.
![title sequences title sequences](https://mir-s3-cdn-cf.behance.net/project_modules/max_1200/a1621b37284041.573b35a08dfb8.jpg)
The Rescuers (1977) is another throwback title sequence that uses painted stills and an orchestral soundtrack. The opening credits of The Aristocats (1970), for instance, use nothing but animated linework recycled from the film. As the studio’s decline continued, title sequences were an obvious place to skimp. The artistry of 101 Dalmatians did not endure. The use of the depth-of-field camera marks this as animated, rather than still, footage. The Sword in the Stone (1963), for instance, is a throwback to Golden Age credits, while The Jungle Book (1967) pans across jungle scenes, using rich, liquid colors and prominent use of shadow to set a scene that’s mysterious and a little threatening.
![title sequences title sequences](https://i.ytimg.com/vi/FySy_tzn0XM/maxresdefault.jpg)
Simplified character animation from the film would remain the most common title sequence style for the next 20 years, but there were many exceptions. Every part of the sequence underscores what role is being listed: Typewritten text for the writers, character animation tests for the animators, and so on, moving gradually from pure abstraction into more and more realistic scenes before transitioning smoothly into the film itself. The music punctuates each beat of the animation. Notice the careful composition of each shot and the creative use of dalmatian spots as design elements. None of this is a slight: This may be Disney’s finest title sequence. This sequence is also half again as long as those of earlier films. Gone, too, is the orchestral/choral soundtrack, replaced with a much looser jazz piece in keeping with the visuals. The art in this title sequence is far simpler, making sparing use of color. Gone are the full-color painted title cards. Watch how these changes are reflected in the drastically different title sequence of the studio’s next film, 101 Dalmatians (1961).Īnimation appears in the credits for the first time, mostly animated text and abstract shapes. Nearly bankrupted by Sleeping Beauty and being weaned off its reliance on Walt Disney himself, it was forced to slash budgets and explore new approaches in order to remain relevant and in the black.
![title sequences title sequences](https://farm5.staticflickr.com/4449/37929876321_f10ec9b92b_o.png)
This style of title sequence would be used for 20 years, all the way through the last of the Golden Age films, Sleeping Beauty (1959).īetween 19, Disney underwent a major shakeup. Long before the advent of the Disney pop star, in this era the studio’s songs took their inspiration from opera and choral music. Bambi (1942) features only muted silhouettes of leaves, accompanied by a gentle love song that makes heavy use of strings. There was plenty of room for variation within this formula. The credits of Dumbo (1941), for example, use bright colors and bold fonts to evoke circus playbills. They had no animation, but were lavishly painted with still images representative of the film’s themes, accompanied by bold orchestral music. In Disney’s early days, when title sequences were necessary to display the film’s credits, took their inspiration from theatrical overtures. One of these changes was the evolution of title sequences. Both the culture as a whole and cinematic culture in particular underwent major changes during this time, which Disney films manage to reflect while still maintaining the essential DNA that marks them as part of the same family. Disney’s 75-year canon is so cohesive that sometimes it’s hard to remember that these various films were made decades apart in drastically different social environments.