At the Notebook, Adrian Curry has a good entry on the title sequences by Jacques Kapralik. Another instance in which the modernism has blinded critics to the art and craft of classicism: "Sure we’ve all swooned over Saul Bass title sequences, and Annyas, of course, has a superb section devoted to them too, but have you ever really considered Warner Brothers end titles before? To see all these cards together is to discover a breadth of type design and handlettering, impeccably and inventively used over and over again." To me this is another instance of the way our understanding of classical Hollywood (and studio-era filmmaking in general) shifts a bit when we approach these films as an archive of films made more accessible through cable TV, home video, bootlegs, and downloads.
Showing posts from October, 2011
Peter Decherney has an op-ed in the New York Times on copyright law and public domain. I know this dovetails Peter's larger project on copyright in Hollywood, so it's no surprise to see a good op-ed piece, but it's still nice to see an accessible version of it circulating out in the broader public sphere. Film studies is not a field known for its public policy applications (one of Toby Miller's frequent complaints), but Peter's op-ed shows how what we do (at least the historians among us) illuminates policy issues in a clear, productive way.