Jeder Filmtitel ist ein Arbeitstitel. So lange, bis der Film unter diesem Namen im Kino erscheint, ist sein Titel auch ein Arbeitstitel. Auf die. UNENDLICHE FILMTITEL - Ich fange mal an. Hinweis zu den Kategorien Filmtitel nach Jahr: Diese Kategorien listen alle bestehenden Artikel, die die Filme eines Jahres behandeln. Dies sollen ausschließlich.
Den perfekten Filmtitel findenJeder Filmtitel ist ein Arbeitstitel. So lange, bis der Film unter diesem Namen im Kino erscheint, ist sein Titel auch ein Arbeitstitel. Auf die. Der Filmtitel ist neben dem Filmplakat einer der wichtigsten Vermarktungsfaktoren in der Filmverwertung. Dabei ist zu unterscheiden zwischen dem Originaltitel. UNENDLICHE FILMTITEL - Ich fange mal an.
Film Titel Navigation menu VideoKlassiker Film ohne Titel 1947 West Side Marokkanische Sängerin. Junction 48 Israel, Deutschland, USARegie: Udi Aloni. Jenseits der Stille DeutschlandRegie: Caroline Link. Der Filmtitel ist neben dem Filmplakat einer der wichtigsten Vermarktungsfaktoren in der Filmverwertung. Dabei ist zu unterscheiden zwischen dem Originaltitel eines Films in seiner Originalsprache und dem landesspezifischen bzw. internationalen. Film-Archiv. Filme, Stars und News suchen und finden im Filmarchiv von CINEMA Online. Filter. Genre: Abenteuer. Der Filmtitel ist neben dem Filmplakat einer der wichtigsten Vermarktungsfaktoren in der Filmverwertung. Dabei ist zu unterscheiden zwischen dem Originaltitel. Hinweis zu den Kategorien Filmtitel nach Jahr: Diese Kategorien listen alle bestehenden Artikel, die die Filme eines Jahres behandeln. Dies sollen ausschließlich. Many translated example sentences containing "Filmtitel" – English-German dictionary and search engine for English translations. Look up in Linguee; Suggest as a translation of "Filmtitel" Copy; DeepL Translator Linguee. EN. Open menu. Translator. Translate texts with the world's best machine translation technology, developed by the creators of Linguee. Linguee. Look up . Share your videos with friends, family, and the world. In der neunten Folge ist es endlich soweit, die erste FRAU kommt zu Besuch bei Comedynstag. Die preisgekrönte Filmregisseurin und vormalige FM4-Moderatorin M.
Using "can't" and "hardly" together, the title translates to, "I do not find it hard to wait. She Hate Me Original U. Title: She Hate Me They forgot about subject-verb agreement.
Inglourious Basterds Original U. Title: Inglourious Basterds They forgot how to spell! Technically, with this one they knew how to spell just chose not to spell correctly, but, still, it should be: "Inglorious Bastards.
Biutiful Original U. Title: Biutiful They forgot how to spell, again! The word is, of course, "Beautiful.
The Pursuit of Happyness Original U. Title: The Pursuit of Happyness They still forgot how to spell! The noun form of "happy" becomes "happiness", and thus, it should be: "The Pursuit of Happiness.
Se7en Original U. Title: Se7en They're trying to be clever! While it is obvious what the intended word is, how exactly does one pronounce a word with a number in the middle of it?
The Year-Old Virgin Original U. Title: The 40 Year Old Virgin They forgot the hyphens! But it would be best to be perfectly clear about that type of thing, so the title should be: "The Year-Old Virgin".
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Add links. T, The. About Last Night Predator: Requiem. The Bond films, the Pink Panther series, Barbarella: the sequences for such films became enticing and often sexy popular amusements.
By the mids the top title designers were celebrities in their own right, people who could be relied on to deal with the messy business of credits with playful panache.
A great draftsman and visual storyteller, Saul Bass ran the gamut of techniques for his title sequences: montage, live action, cut-out paper animation, typography in motion, to name a few.
Whatever technique he used, Bass summarized the film as a metaphor that often shone with creativity. In January , David Peters, Kai Christmann and Dav Rauch, all of Design Films, gave two presentations on the work of Saul Bass at the 12th Future Film Festival in Bologna, Italy.
In an interview, Kyle Cooper listed three opening sequences that made a big impression on him. It could be argued that typography lost importance in this era of title design.
The imagery behind the credits received a lot more attention. Still, the interplay of typography and images was by no means ignored.
Popular trends of the s were using three-dimensional lettering and embedding type in physical artifacts such as embroidery and signage. In contrast, Saul Bass often approached the lettering of a main title as he would a logo, making it function as the core element in a full marketing campaign.
While the variety of solutions increased considerably, their anchor was always the relationship of on-screen typography to the movie itself.
Credit for this design goes to Richard Greenberg, with creative direction from Stephen Frankfurt:. Every sphere of contemporary life — and especially the film business — has been affected by computers.
For designers, creating film titles meant participating in the apprenticeship tradition — learning by doing, on the job; that continued unabated into the mids.
At that time, dynamic openers by Kyle Cooper and others showed what the next generation of design-educated, film-literate, tech-savvy creatives could do.
That apprenticeship tradition has largely been overshadowed by the rise of popular technology, the Internet-enabled archiving of everything and the plethora of schools that propagate countless design disciplines.
Most significantly, we see designers working like filmmakers and filmmakers working like designers. A consequence of this digital era seems to be that modern title design will forever rely on progressive technologies.
Yet, in one of his interviews, Kyle Cooper states that while the power of computer graphics is obvious, he still likes experimenting with live action, because there is something special about the imperfection of making things by hand.
The incident added suspense to the effect:. The potential of digital graphics and typography has attracted some of the most creative minds to motion design.
Pixar and Disney have reserved crucial parts in the branding of their films for the title sequences. Using animated characters to introduce viewers to the story became a popular trend.
Once modelled, we then projected these painted elements onto them. We even rigged and animated our Anne character but found it no longer read as a painting, feeling digital and uncanny.
The result of this restraint, plus the presence of Brad Kunkle as art director, is a 3D sequence with beautiful movement and light that preserves the natural feel of the original works.
So you never saw the scene in full; it was always a partial view surrounded by a sea of black negative space.
Jessica Jones is a dark story of a human psyche damaged by trauma and abuse — Jessica has PTSD and drinks heavily — so the team looked for ways to hint at the vulnerable aspects of her character.
How would the world look through her point of view? Incorporating negative space was intentional — it symbolised pockets of her blackout.
Karin Fong sees the Black Sails titles as a milestone in terms of the capabilities of CG tools. Recently, Fong directed the title sequence for the new Starz show Counterpart, a science fiction espionage thriller in which a UN bureaucrat discovers his agency is guarding a crossing point to a parallel dimension.
Once again, bringing natural textures into the 3D space was the key to creating a sense of authenticity, so Fong and her team photographed the set.
The sequence brings natural textures as well as motifs from East German architecture into a surreal space in which figures move past each other on different planes, perhaps interacting, perhaps not.
Blake Edwards' comedy The Pink Panther is a generally uninspired crime caper that's redeemed by two things: Peter Sellers' relentlessly funny performance as Inspector Clouseau, and its spectacular title sequence that marries Henry Mancini's instantly recognisabletheme tune to animation by the legendary Friz Freleng.
The creator of iconic cartoon characters such as Yosemite Sam, Speed Gonzales and Sylvester and Tweety, Freleng produced an inspired cartoon short for The Pink Panther, turning the film's titular diamond into an actual pink panther who proved so popular that he swiftly became the star of his own long-running series of cartoons, as well as featuring in the titles of nearly all of the Pink Panther movie sequels.
The sequel to Marvel's Guardians of the Galaxy kicks off with an epic title sequence that cleverly combines 11 different visual effect shots into a single tracking shot.
And while in the normal course of things we'd be concentrating on the pitched battle between the the Guardians and a massive tentacled beast, the title sequence neatly focuses instead on Baby Groot dancing to ELO's 'Mr Blue Sky', virtually oblivious to the mayhem unfolding around him.
It's joyful, explosive stuff that sets the tone for the rest of the movie perfectly. Still effective and tense more than 50 years later, this is one of the most iconic title sequences committed to film.
If anyone was going to take this film seriously, the title sequence for JCVD had to take on the unenviable task of restoring his pride and possibly throw in a laugh or too at the same time.
This insane crescendo of aggression building to Van Damme's escape — only for the scene to be ruined by a clumsy extra at the last moment — and you to realise that this was all a deceitful ruse.