| Abstract |
| Today, film title sequences can represent the director`s intention in a pithy expression. The film title sequence stimulates the spectator`s interest in the way that it is another film in a film, and have been a cogent means for the publicity and communication. It is time to seek ways of transmitting, not for a mere communication, but to effectively process contents or to diversely apply motion picture title sequences. This would heighten an effect not only for the communication with the spectator, but also for the its artistic merit.
This study will examine the signification that Saul Bass, a great American graphic designer, invested in the opening title, on the basis of Charles Pierce`s the sign system going beyond the traditional semiotics typified by Saussure. For this, the research will conduct a study on the structure of visual text imaged, appreciating the significance and expression mode of the title sequence notifying the film`s beginning and then analysing the meaning in depth.
Bass produced film title sequences applying design thinking: the form of lines and colour contrast. He forms visual image in the semiotic basis of graphic elements and principles and composes `intersignification` in the composition of image. In this way, Bass`s film title sequence does not merely suggest superficial signification, but expresses and addresses a connotative meaning through an interplay in the sign system. |
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| Key Words |
| 오프닝타이틀, 솔바스, 히치콕, Film title sequences, Sal Bass, Hitchcock |
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