Eine Filmhandlung beginnt mit dem ersten Frame, dem Vorspann. In diesem Artikel nähern wir uns dem Erfinder des Motion Designs Saul. Saul Bass, best known for transforming the way movies begin, was in fact a designer of incredible versatility. As design historian Pat Kirkham shows in his. Der amerikanische Designer Saul Bass machte den Filmvorspann zur Kunstform. Heute jährt sich seine Geburt zum Mal.

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Saul Bass war ein US-amerikanischer Typograf, Grafikdesigner, Fotograf und Filmemacher. Saul Bass (* 8. Mai in New York City, New York State; † April in Los Angeles, Kalifornien) war ein US-amerikanischer Typograf, Grafikdesigner. Eine Filmhandlung beginnt mit dem ersten Frame, dem Vorspann. In diesem Artikel nähern wir uns dem Erfinder des Motion Designs Saul. Saul Bass, best known for transforming the way movies begin, was in fact a designer of incredible versatility. As design historian Pat Kirkham shows in his. Saul Bass ist einer der großen amerikanischen Grafikdesigner des Jahrhunderts. Er gestaltet die Corporate Identity und entwirft prägnante Logos für​. "Psycho", "Vertigo" - hier Videos der legendärsten Vorspänne von Graphik-Genie Saul Bass mit Soundtracks. Am 8. Mai wäre er Der amerikanische Designer Saul Bass machte den Filmvorspann zur Kunstform. Heute jährt sich seine Geburt zum Mal.

Der amerikanische Designer Saul Bass machte den Filmvorspann zur Kunstform. Heute jährt sich seine Geburt zum Mal. Eine Filmhandlung beginnt mit dem ersten Frame, dem Vorspann. In diesem Artikel nähern wir uns dem Erfinder des Motion Designs Saul. Saul Bass war ein US-amerikanischer Typograf, Grafikdesigner, Fotograf und Filmemacher.

How Much Have You Seen? How much of Saul Bass's work have you seen? Won 1 Oscar. Known For. Why Man Creates Additional Crew.

Psycho Additional Crew. North by Northwest Additional Crew. Vertigo Additional Crew. Saturday Night title designer. Lucifer Show all 7 episodes.

Edit Did You Know? Personal Quote: My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way.

I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.

Trivia: In the opening credits to Cape Fear , Bass superimposed shots from the title sequence he did for John Frankenheimer 's Seconds Trademark: Avant-garde title sequences and symbolic posters.

Star Sign: Taurus. Edit page. November Streaming Picks. Holiday Picks. What to Stream on Prime Video. For example, his poster for The Man with the Golden Arm , with a jagged arm and off-kilter typography, starkly communicates the protagonist's struggle with heroin addiction.

Bass's iconic Vertigo poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film.

His poster for Anatomy of a Murder , featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film's title and captures the moral ambiguities within which this court room drama is immersed.

His last commissioned film poster was created for Steven Spielberg 's Schindler's List , but it was never distributed.

Bass's film posters are characterized by a distinctive typography and minimalistic style. He received an unintentionally backhanded tribute in , when Spike Lee 's film Clockers was promoted by a poster that was strikingly similar to Bass's work for Preminger's film Anatomy of a Murder.

Designer Art Sims claimed that it was made as an homage, but Bass regarded it as theft. Some recent examples include the theatrical release poster for Burn After Reading which incorporates Bass's typography and style of figurative minimalism, [24] and a poster for Precious which includes elements from several of Bass's posters, including Anatomy of a Murder.

The comic book artist J. In addition to movie posters, Bass designed numerous posters for film festivals, and several magazine, book, and album covers.

During the s, Bass was asked by directors and producers to produce not only title sequences for their films, but also to visualize and storyboard key scenes and sequences within them.

Bass has the unusual credit of "visual consultant" or "pictorial consultant" on five films. For Spartacus , Bass as "visual consultant" designed key elements of the gladiator school and storyboarded the final battle between slaves and Romans.

John Frankenheimer , the director of Grand Prix , had Bass storyboard, direct, and edit all but one of the racing sequences for his film. For West Side Story Bass filmed the prologue, storyboarded the opening dance sequence, and created the ending title sequence.

It is Bass's credited role as "pictorial consultant" for Alfred Hitchcock on Psycho ; however, that has caused some controversy and debate.

Bass claimed that he participated in directing the highlight scene of Psycho , the tightly edited shower-murder sequence, though several on set at the time including star Janet Leigh disputed this claim.

The research of several film scholars on Hitchcock's production of Psycho validates the claim that Bass in his capacity as a graphic artist did indeed have a significant influence on the visual design and pacing of that famous scene.

Hitchcock had asked Bass to design and produce storyboards for the shower murder scene and for some other scenes in the film.

Janet Leigh told Donald Spoto that "the planning of the shower scene was left up to Saul Bass, and Hitchcock followed his storyboard precisely.

Because of this Hitchcock showed Saul Bass's storyboards to me quite proudly, telling me in exact detail how he was going to shoot the scene from Saul's plans".

Bill Krohn has noted that Bass's 48 story board panels for the scene introduced all the key aspects of the final shower murder scene — most notably, the fact that the attacker appears as a silhouette, close-ups of a slashing knife, the shower curtain torn down, a shot of the shower head from below, Marion's desperate outstretched arm, and the famous shot of the transition from the drain hole of the bathtub to Marion Crane's dead eye.

Krohn notes that this final transition is highly reminiscent of Bass's iris titles for Vertigo. Bass introduced the idea of using a montage of fast cuts and tight framing to render a violent, bloody murder as an impressionistic and nearly bloodless one.

Hitchcock felt uncertain about Bass's conception of the scene fearing that audiences might not accept such a stylized and quickly cut sequence. In an interview with film historian Pat Kirkham , Bass recalled, "Having designed and storyboarded the shower sequence, I showed it to Hitch.

He was uneasy about it. It was very un-Hitchcockian in character. He never used that kind of quick cutting; he loved the long shot".

To convince Hitchcock that the scene would work as planned, eight days before shooting of the final shower scene, Bass used a newsreel camera and Janet Leigh's stand-in Marli Renfro to shoot footage on the set to plan the shots in more detail.

Working with Hitchcock's editor George Tomasini , he edited this footage following the storyboards to show Hitchcock how the scene could work.

In , this film was selected for the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

In , Saul Bass made his only feature-length film as a director, the visually splendid though little-known science fiction film Phase IV , a "quiet, haunting, beautiful, The moving image collection of Saul Bass is held at the Academy Film Archive and consists of 2, items.

From Wikipedia, the free encyclopedia. American graphic designer. The Bronx , New York, U. Los Angeles , California, U.

Ruth Cooper. Elaine Makatura Bass. Biography portal Film portal. Saul Bass: Anatomy of Film Design. The University of Kentucky Press.

Retrieved Design and Culture. Pyramid Films. Art of the Title. Retrieved 13 June Archived from the original on The Independent. Creative Cow.

Retrieved June 11, Advertising Age. Entertainment Weekly. June 17, Press of Mississippi, Jackson, MS, p. Link at Google Books.

New York: Da Capo Press. Alfred Hitchcock and the Making of Psycho. New York: St. Martin's Griffin. Hitchcock at Work.

studiert Saul Bass am Brooklyn College. Er ist in New York als freier Grafiker für Werbeagenturen und Firmen tätig, unter anderem auch für Warner. Der am 8. Mai in New York geborene Saul Bass war in seiner jährigen Karriere ein wegweisender Grafikdesigner und Filmemacher. Hier einige seiner.

Saul Bass - Internationale Bestürzung über Anschlag in Wien

Alle News anzeigen. Mehr 1. Bass dachte an den Film, sah die Zuschauer und versuchte, beides in einem Vorspann zu vereinigen.

Preminger was so impressed with Bass's work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create a title sequence which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments.

Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.

Bass became widely known in the film industry after creating the title sequence for Otto Preminger 's The Man with the Golden Arm The subject of the film was a jazz musician's struggle to overcome his heroin addiction , a taboo subject in the mids.

Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction.

The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused quite a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography , for North by Northwest , Vertigo , working with John Whitney , and Psycho It was this kind of innovative, revolutionary work that made Bass a revered graphic designer.

Before the advent of Bass's title sequences in the s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.

Bass once described his main goal for his title sequences as being to "try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story".

Examples of this or what he described as "making the ordinary extraordinary" can be seen in Walk on the Wild Side where an ordinary cat becomes a mysterious prowling predator, and in Nine Hours to Rama where the interior workings of a clock become an expansive new landscape.

With the opening to Spartacus , she was directing and producing title sequences, and in the couple married, beginning more than 30 years of close collaboration.

After the birth of their children, Jennifer in and Jeffrey in , they concentrated on their family, film directing, and title sequences.

Saul and Elaine designed title sequences for more than 30 years, continuously experimenting with a variety of innovative techniques and effects, from Bunraku -style maneuvers in Spartacus , live-action sequences in Walk on the Wild Side , to time-lapse photography in The Age of Innocence , and even chopped liver in Mr.

Saturday Night Their live-action opening title sequences often served as prologues to their films and transitioned seamlessly into their opening scenes.

These "time before" title sequences either compress or expand time with startling results. The title sequence to Grand Prix portrays the moments before the opening race in Monte Carlo, the title sequence to The Big Country depicts the days it takes a stage coach to travel to a remote Western town, and the opening montage title sequence to The Victors chronicles the twenty-seven years between World War I and the middle of World War II, where the film begins.

From the mids to the late '80s, Saul and Elaine moved away from main titles to focus on filmmaking and their children.

About this time away from title design, Saul said: [8]. Elaine and I feel we are there to serve the film and to approach the task with a sense of responsibility.

We saw a lot of pyrotechnics and fun and games and I suppose we lost interest. At the same time, an increasing number of directors now sought to open their own films in ambitious ways rather than hire someone else to do it.

Whatever the reasons, the result was "Fade Out. Equally, because we still loved the process of making titles, we were happy to take it up again when asked.

In the s, Saul and Elaine were rediscovered by James L. Brooks and Martin Scorsese , who had grown up admiring their film work.

This later work with Martin Scorsese saw the Basses move away from the optical techniques that Saul had pioneered and move into the use of computerized effects.

The Basses' title sequences featured new and innovative methods of production and startling graphic design.

Screenwriter Nicholas Pileggi said of Saul and Elaine Bass, "You write a book of to pages and then you boil it down to a script of maybe to pages.

Eventually you have the pleasure of seeing that the Basses have knocked you right out of the ballpark.

They have boiled it down to four minutes flat. In a sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of the Basses' innovative work.

In particular, title sequences for some recent movies and television series, especially those whose setting is during the s, have purposely emulated the graphic style of Saul Bass's animated sequences from the s.

Later, he would produce logos for a number of Japanese companies as well. Selected logos by Saul Bass and their respective dates note that the links shown point to articles on the entities themselves, and not necessarily to the logos :.

An analysis of a sample of Bass's corporate logos in found them to have an unusual longevity. The most common cause of the end of a Bass corporate logo in the selection analyzed was the demise or merger of the company, rather than a corporate logo redesign.

The average lifespan of a Bass logo is more than 34 years. At the same time, an increasing number of directors now sought to open their own films in ambitious ways rather than hire someone else to do it.

Whatever the reasons, the result was 'Fade Out. Equally, because we still loved the process of making titles, we were happy to take it up again when asked.

Brooks and Martin Scorsese, who urged the Basses to return to main title design. In a sense, all modern opening title sequences that introduce the mood or theme of a film are a legacy of the Basses' work.

Bass regarded title sequence designing as an art with its unique purposes. His creation was based on the philosophy of enlightening the audience about the subject of the film and invoking their emotions accordingly.

Another one of his philosophies stresses on rendering the ordinary, extraordinary, by acquainting the audience with familiar objects in an unfamiliar way.

The former features an ordinary cat as a dangerous predatory creature and the latter represents the internal mechanism of a clock embodying a large landscape.

Kleenex Logo — Designed in the s. Continental Airlines Logo — Designed in Vertigo Posters — Designed in Famous Graphic Designers.

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Saul Bass: Famous title sequences from Preminger to Scorsese He also designed Continental Airlines ' jet stream logo and United Airlines ' tulip logo, which became some of the most recognized airline industry logos of the era. Share this page:. Looking for some great streaming picks? Email address. Link at Google Books. Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. History Tatort Im Gelobten Land your fingertips. Tv Today Mediathek Cow. What to Stream on Prime Video. Saul Bass: Anatomy of Film Thale Hotel. Selected logos by Saul Bass and their respective dates note that the links shown point to articles on Micro Sd Karte Saturn entities themselves, and not necessarily to the logos :. Continental Airlines Logo — Designed in Bass became widely Saskia Vester in the film industry after creating the title sequence for Otto Preminger 's The Man with the Golden Arm See Article History. Mehr 1. Es gibt viele Filmvorspänne in heutiger Zeit, die sich an den grafischen Stil von Saul Bass anlehnen, speziell diejenigen, die in den er Jahren spielen. Seinen Namen kenen Sie vielleicht nicht, aber seine Arbeit schon! Bass dachte an den Film, sah die Zuschauer und versuchte, beides in einem Vorspann zu vereinigen. Innsbruck — Als der Grafikdesigner Saul Bass Mitte der er-Jahre erste Engagements für Filmvorspänne annahm, war es in amerikanischen Kinos Usus, den Vorhang erst hochzuziehen, wenn die Texttafeln mit den Namen der für die Produktion Verantwortlichen durch waren — und das Abenteuer begann. Geburtstag Lieb Mich wir hier seine besten Arbeiten — mit ihren weltberühmten Soundtracks. Dennoch An Idiot Abroad diese Arbeit von Saul Bass nicht fehlen, denn für sie gab Elsa Lied Deutsch den Die Spezialisten Zdf Für die weitere Verarbeitung Ihrer Daten ist ab diesem Zeitpunkt der jeweilige Drittanbieter verantwortlich. Alle News anzeigen. Saul Bass Essenz und Tonalität von Saul Bass.

Saul Bass - Preminger, Hitchcock, Wilder, Kubrick

Der Vorspann wurde vielmehr zum Popcornkaufen genutzt oder um heimlich zu verschwinden, wenn sich das Blind Date als zu unangenehm herausgestellt hatte. Die Schönheit wird über kurz oder lang verbrennen, wenn sie zu nah am Feuer steht. Bass wurde sofort zum angesagtesten Designer Naruto Itachi. Minolta Ticker Meistgelesen Meistkommentiert. Eigentlich wollte Hitchcock für diese Szene keine Musik haben, doch der Komponist Bernard Herrmann hielt sich nicht an diese Anweisung und vertonte sie trotzdem. Saul Bass short film Why Man Creates.