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Abstract: This article is a survey of forms and functions of title sequences in film. Using a scattered but substantial base of references, it seeks to contribute to the analysis of this ingenious cinematic form. In particular, it proposes to read the title sequence as self-reflexive, namely, as a reading of the film itself in which the title sequence is integrated. Through their distinguishing functional characteristics, title sequences stand in as representative of an alternate kind of movie.
The opening titles of a feature film are embedded in a complex intermediary zone. The movie begins, but where and when exactly? Viewers find themselves in a threshold situation that, to be sure, consists of far more than just the tide sequence. And yet the tide sequence itself is part of it, and as such it takes this intermediary zone into account. It is a zone of announcements, movie reviews, trailers and posters, box offices and admission fees, good seats or bad seats, commercials, conversation, and popcorn.1 The curtain closes, the curtain opens again - finally, the title sequence; or, if you like, initially, the title sequence. "The movie has begun." "Oh come on, it's only the titles . . ." - who hasn't heard this little argument among seat neighbors? It isn't worth being dogmatic, insisting on coming to a decision. Like popcorn containers and just-continuing-the-conversation-for-a-moment, it is simply part of the situation. And it is important here insofar as the tide sequence presupposes and accommodates exacdy this intermediary zone, accepts it and at the same time tries to give the movie a chance. The tide sequence does not necessarily compel you to pay attention. However, it focuses on the situation of distractedness and diverging expectations, namely, in providing a focus that allows for a transition into the movie.
The Complexity of the Title Sequence. Probably the best way to comprehend this cinematic form is to think of it as a locus of division: manifold differentiation somehow bridged by fragile techniques of reintegration.2 Tide sequences create a divided focus of attention, the separation of the inside from the outside, of what is the play of the narrative from what is documenting the production, cinematic narrative from film commentary, intradiegetic from extradiegetic information. The title sequence...