In Enter the Void, Gaspar Noé shows us things we've never seen before, beginning with opening credits of a rare intensity: big throbbing letters in English and Japanese, pulsating so rapidly they're almost reduced to a stream of subliminal imagery. It's dazzlingly modern and in-your-face, even though it's essentially just a bunch of different typefaces. Noé has taken an intrinsically old-fashioned approach to credits and given it the ultimate makeover.
A lot of today's movies (particularly the more self-important "event" releases) dispense with opening credits altogether, which is a shame, because there's nothing like an exhilarating launchpad to give a film lift-off. Until the 1950s, the usual method was to present names and titles on cards, or against an unmoving backdrop, though prestige productions sometimes tinkered with the