![]() ![]() Fans of his work will also want to check out the new Criterion DVD, which includes a look at the relationship between Bass and Preminger with Bass’ biographer, Pat Kirkham. Find many great new & used options and get the best deals for Anatomy Of A Murder - Original Half Sheet Movie Posters - Stewart - Saul Bass at the best. August 09, 2017, 2:19pm The man who launched a million minimalist movie posters (try not to hold that against him), graphic designer Saul Bass may have spent most of his career advertising. Watch the titles for Casino and Goodfellas and you’ll easily spot remnants of Bass’ early work. Sadly, he was mostly forgotten in the ’70s and ’80s, but was rediscovered in the ’90s by Martin Scorsese. ![]() Sometimes he used crude paper cut-outs, but he also directed live-action sequences that transitioned seamlessly into the film itself or made fully animated mini-movies, such as the epilogue for Around the World in Eighty Days. But Bass introduced a new kind of kinetic typography that allowed for motion in title sequences. You know instantly that you’re not going to get a happy ending.īefore Bass, film titles were static and shown separately from the film, often projected on the curtains right before they were raised for the first scene. Album cover for Duke Ellingtons music from the motion picture Anatomy of a Murder. He took a similar approach with Anatomy of a Murder, which also uses cut-out animation to present the actors’ names over various body parts – legs, arms, a torso. Saul Bass, Duke Ellington, Columbia Records. Drug addiction was a taboo subject in the 1950s and the titles alone caused quite a stir-a rare feat for an opening sequence. He set the mood for The Man With the Golden Arm, a film about a jazz musician’s struggle to overcome a heroin addiction by prominently featuring the cut-out, black and white arm of a heroin addict. For example, in the titles for Anatomy of a 99 SAUL BASS Murder, the credits are placed inside or around various cutout shapes of body parts that cross the. ![]() Others may remember his work for Alfred Hitchcock in Charade, North by Northwest, Vertigo and Psycho, as well as his work for Otto Preminger in The Man With the Golden Arm and Anatomy of a Murder, the 1959 Jimmy Stewart classic that was just re-released on Criterion.īass was a master of reflecting a film’s theme in the opening titles without giving away too much. If you’re a little rusty on your mid-century film classics, the “cut and paste” style of the opening titles for Catch Me If You Can pay a direct homage, even Mad Men pays tribute. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century.Legendary graphic artist Saul Bass has created logos for some of the biggest brands-Girl Scouts, Kleenex, US Airways, AT&T-and designed some of the most iconic album covers and movie posters, but it’s his movie title sequences he’s most remembered for. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick's Spartacus in the early 1960s to Martin Scorsese's Cape Fear and Casino in the 1990s. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. Voelker under the pen name of Robert Traver. The screenplay by Wendell Mayes was based on the 1958 novel of the same name written by Michigan Supreme Court Justice John D. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man with the Golden Arm and Anatomy of a Murder. Anatomy of a Murder is a 1959 American courtroom drama 2 film produced and directed by Otto Preminger. Having extended the remit of graphic design to include film titles, he went on to transform the genre. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. ![]() This is the first book to be published on one of the greatest American designers of the 20th Century, who was as famous for his work in film as for his corporate identity and graphic work. There are many modern touches in the film: Duke Ellingtons jazz score Saul Bass stark credit sequence of an animated, disembodied corpse and a plot. ![]()
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