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Saul Bass A Life In Film And Design Pdf 13



Each chapter begins with an essay by a fellow designer, or poet, or, in the case of Saul Bass, director Martin Scorsese, and closes with a biographical profile. Esteemed by designers around the world, these are the artists who created the identities of Warner, AT&T, IBM, ABC, UPS, and Westinghouse; film titles for The Shining and Cape Fear; posters; advertisements; and memorable images of every sort.




saul bass a life in film and design pdf 13


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[20] One might object that the same is true of the main title sequence of a film when it is broadcasted. However important the pay or free television window may be in the commercial life of a film, I would nevertheless underline that opening credits in movies are not primarily conceived for a television release. Conversely, main titles in television shows are specifically conceived in relation to this kind of viewing experience.


Pat Kirkham is an author, professor, and design historian. She holds a Ph.D. from the University of London and is considered a foremost expert on the history of design, film, gender, and class.[1] She is perhaps best known as the author (with Jennifer Bass) of the first major book about designer Saul Bass, the monograph Saul Bass: A Life in Film and Design.


She began her academic career in 1970 at De Montfort University in Leicester, UK, where she held the successive positions of lecturer, professor, and provost.[3] From 1970 to 1978, she was a lecturer and senior lecturer, teaching the history of architecture and design. From 1978 to 1993, she held the role of principal lecturer, teaching history of art, design, and film. From 1993 to 1996, she was a professor of design history as well as the Personal Chair and Provost for the School of Humanities.[4]


One of the most influential design-led entrepreneurs of his generation, Sir Terence Conran, who died last year, was a champion of design education and the creative industries in Britain throughout his life. He founded the Design Museum in 1989.


Nominees include 15-year-old Jalaiah Harmon, creator of online dance sensation Renegade, a set of plasters suitable for a range of skin tones by Nuditone, virtual musician, social activist and model Lil Miquela, the set design for award-winning film Parasite, The Uncensored Library in Minecraft and a low-cost modular school that can be built and dismantled in a few hours.


We might think of his work as the acme of mid-century nostalgia, bringing to mind Mad Men-era Americana. Yet the award-winning graphic designer, and film maker, Saul Bass, was a true, innovator, befitting the honour of a Google Doodle, which the search company bestows on Bass to mark the 93rd anniversary of his birth, today.


As we explain in our Archive of Graphic Design, in his work on the Sinatra film, The Man With The Golden Arm (1955), "Bass broke new ground by unifying the aesthetics of the campaign across different media, standardizing both print promotions and title sequences rather than leaving these elements to be developed by other designers."


Bass began his career producing print ads for Hollywood films, before designing his first title sequence, for Otto Preminger's Carmen Jones in 1954. This introductory footage, while not as animated as his later work, nevertheless introduced moving images - a flaming rose - in place of the usual still title cards that had introduced movies up until this point.


The designer went on to develop a long working relationship with Alfred Hitchcock, producing work for Psycho, Vertigo and North by North West among others. He also drew up logos for United Airlines, AT&T, and Warner Communications, and continued to work up until his death in 1996. Indeed, he drew up a treatment for Spielberg's 1993 Oscar-winning film, Schindler's List. While the poster wasn't distributed, its neat graphic treatment, proves Bass's work remained remarkably sharp until the end.


See how many film sequences you can recognise in Google's tribute, above. To understand more about Bass and his place in graphic design, please consider our Archive of Graphic Design , which features 500 graphic designs including newspapers, magazines, posters, advertisements, typefaces, logos, corporate design, record covers and moving graphics from around the world, which have set a benchmark for excellence and innovation.


Directed by Stuart Paton, the film was touted as "the first submarine photoplay." Universal spent freely on location, shooting in the Bahamas and building life-size props, including the submarine, and taking two years to film. J. E. Williamson's "photosphere," an underwater chamber connected to an iron tube on the surface of the water, enabled Paton to film underwater scenes up to depths of 150 feet. The film is based on Jules Verne's "20,000 Leagues Under the Sea" and to a lesser extent, "The Mysterious Island." The real star of the film is its special effects. Although they may seem primitive by today's standards, 100 years ago they dazzled contemporary audiences. It was the first time the public had an opportunity to see reefs, various types of marine life and men mingling with sharks. It was also World War I, and submarine warfare was very much in the public consciousness, so the life-size submarine gave the film an added dimension of reality. The film was immensely popular with audiences and critics.


This film's appeal may lie in its reputation as "a haunted house movie in space." Though not particularly original, "Alien" is distinguished by director Ridley Scott's innovative ability to wring every ounce of suspense out of the B-movie staples he employs within the film's hi-tech setting. Art designer H.R. Giger creates what has become one of cinema's scariest monsters: a nightmarish hybrid of humanoid-insect-machine that Scott makes even more effective by obscuring it from view for much of the film. The cast, including Tom Skerritt and John Hurt, brings an appealing quality to their characters, and one character in particular, Sigourney Weaver's warrant officer Ripley, became the model for the next generation of hardboiled heroines and solidified the prototype in subsequent sequels. Rounding out the cast and crew, cameraman Derek Vanlint and composer Jerry Goldsmith propel the emotions relentlessly from one visual horror to the next.


Scheming ingénue Eve Harrington (Anne Baxter) ingratiates herself with aging Broadway star Margo Channing (Bette Davis) moving in on her acting roles, her friends and her stage director beau. The dialog is often too bitingly perfect with its sarcastic barbs and clever comebacks, but it's still entertaining and quote-worthy. The film took home Academy Awards for best picture, best director (Joseph L. Mankiewicz), best screenplay (Mankiewicz) and costume design (Edith Head and Charles Le Maire). George Sanders won a best supporting actor Oscar for his performance as the acid-tongued theater critic Addison DeWitt. Thelma Ritter as Margo's maid, Celeste Holm as Margo's best friend, and Marilyn Monroe, in a small role as an aspiring actress, give memorable performances.Movie poster


Written and directed by George Stoney, this landmark educational film was used to educate midwives throughout the South. Produced by the Georgia Department of Public Health, profiles the life and work of "Miss Mary" Coley, an African-American midwife living in rural Georgia. In documenting the preparation for and delivery of healthy babies in rural conditions ranging from decent to deplorable, the filmmakers inadvertently captured a telling snapshot at the socioeconomic conditions of the era that would prove fascinating to future generations.Expanded essay by Joshua Glick (PDF, 391KB)


Gene Kelly, Leslie Caron, Georges Guetary, (The film was supposed to make Guetary into "the New Chevalier." It didn't.) The thinnish plot is held together by the superlative production numbers and by the recycling of several vintage George Gershwin tunes, including "I Got Rhythm," "'S Wonderful," and "Our Love Is Here to Stay." Highlights include Guetary's rendition of "Stairway to Paradise"; Oscar Levant's fantasy of conducting and performing Gershwin's "Concerto in F" (Levant also appears as every member of the orchestra). "An American in Paris," directed by Vincente Minnelli, cleaned up at the Academy Awards, with Oscars for best picture, screenplay, score, cinematography, art direction, set design, and even a special award for the choreography of its 18-minute closing ballet in which Kelly and Caron dance before lavish backgrounds resembling French masterpieces. Interview with Leslie Caron (PDF, 1.36MB)


This early sound-era masterpiece was the first film of both stage/director Rouben Mamoulian and cabaret/star Helen Morgan. Many have compared Mamoulian's debut to that of Orson Welles' "Citizen Kane" because of his flamboyant use of cinematic innovation to test technical boundaries. The tear-jerking plot boasts top performances from Morgan as the fading burlesque queen, Fuller Mellish Jr. as her slimy paramour and Joan Peters as her cultured daughter. However, the film is remembered today chiefly for Mamoulian's audacious style. While most films of the era were static and stage-bound, Mamoulian's camera reinvigorated the melodramatic plot by prowling relentlessly through sordid backstage life.


Leo McCarey's largely improvised film is one of the funniest of the screwball comedies, and also one of the most serious at heart. Cary Grant and Irene Dunne are a pair of world-weary socialites who each believe the other has been unfaithful, and consequently enter into a trial divorce. The story began life as a 1922 stage hit and was filmed twice previously. McCarey maintained the basic premise of the play but improved it greatly, adding sophisticated dialogue and encouraging his actors to improvise around anything they thought funny. "The Awful Truth" was in the can in six weeks, and was such a success that Grant and Dunne were teamed again in another comedy, "My Favorite Wife" and in a touching tearjerker, "Penny Serenade." The film was nominated for an Academy Award for Best Picture.Movie poster Movie poster


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