Saul Bass, Richard Williams and cinema's opening credits

Sauil Bass's credit sequence for The Man With the Golden Arm was carried into the film's publicity, prefiguring today's corporate identity approach

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
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