Visual Narratives

Research

Opening Sequences

*Intro for Twin Peaks created by Mark Frost & David Lynch*

Before researching various film opening/closing credits, I felt Twin Peaks was a very good example of an opening sequence viewers never skip. The slow pace of the transitioning motion graphics, the soundtrack and the colours used alongside the theme song, for me personally, create a weird combination of homeliness yet a sense of something supernatural and dark underneath the surface, which captions the show perfectly. It is nearly haunting. I feel it was a very important series to happen in the world of visual narratives.

David Lynch is an American prolific filmmaker, known for his ‘midnight-movie’ Eraserhead, Blue Velvet, Mulholland Drive, Inland Empire and The Elephant Man. As well as the Twin Peaks film, Fire Walk With Me. Lynch is one of my favourite filmmakers, creating his own avant-garde dream-like ‘Lynchian’ style.

Taken from Art of the Title, it is stated “Lynch and Frost knew the importance of emphasizing mood and tonality. It’s why the Twin Peaks pilot employs a two-and-a-half-minute title sequence that unabashedly allows the images time to luxuriate. This was subsequently shortened however to a minute and a half for later episodes. The combination of small town serenity with the eerily empathic score creates a sense of comfort while simultaneously hinting at the underlying truth about the setting. Notably, the town’s residents are absent from the sequence, underscoring the fact that the most important character in the series is the town of Twin Peaks itself.”

Regarding visual narrative codes, the ones that stand out for me in Twin Peaks are tone, pacing, genre, where the sequence is to be screened, balance between word and image, sound design, impossible camera positions.

The tone and pacing are nearly interlinked .

Regarding sound design, the score was by Angelo Badalementi, “In Lynch’s head, music, imagery and narrative were inextricably intertwined, so he told Badalamenti to imagine he was alone in woods at night. The wind was blowing, an owl was hooting. Badalamenti picked out an ominous, low motif. Slower, said Lynch. “Just slow things down and it becomes more beautiful.” (https://www.theguardian.com/music/2017/mar/24/twin-peaks-soundtrack-david-lynch-angelo-badalamenti)

Catch Me If You Can

Made in America

Motion Graphics Research cntd.

*Split Opening Credits designed by Aaron Becker*

I love the use of solely text in this opening credit sequence. The use of a black screen, repeated text and iconic sans serif font, Helvetica, adds to the sense of eeriness and suspense. Similar to Saul Bass’ opening credit design for Psycho by Alfred Hitchcock. Title sequences with a focus on purely typography are not as common in modern cinematography, however I find their impact to be quiet strong. The use of text was to foreshadow McAvoys’ characters multiple personality disorder (now known as DID, Dissociative Identity Disorder) which is also seen in the closing credits

The influence of Saul Bass and his sequences for Psycho can be seen. The two title sequences are shown to express the troubled and dual mentality of the protagonists. Both designs use of text compliments the music used. The fast pace of Psycho both in sound and text prepare the viewer for a manic journey filled with contrast and tension. The strong use of lines holds the viewers gaze, directing where they are to look, simple yet very effective.