Animator Kathy Zielinksi strategically choreographs objects in her title sequence for the 80s horror film, Night of the Demons, to communicate and mirror the mysterious tone and whacky horror context the film entails (Lang et al, 2019). She does this through motion design – the language of movement (Krasner, 2013). She combines primary, secondary and temporal movement to curate a story that is seen and felt by audiences (Krasner, 2013).
Her technique involves primary motion of drawing fixed objects on clear cels and moving those objects sequentially in-camera, with additional secondary animation and temporal elements(Lang et al, 2019). Her primary objects which she has drawn are for the most part fixed. However, Zielinksi uses the X and Y axes to reposition and scale these objects in a way that makes them appear more organically and lively as they move throughout the screen (Krasner, 2013). Her main primary objects include her ghost forms and the environments they surround (Lang et al, 2019). The ghost forms move in a non-linear motion up the screen to convey a haunted tone and imagery of ‘rising from the dead’ (Krasner, 2013). Whilst these objects move the images of the house, stairs and fireplace appear to remain stationary as secondary camera movements pan and zoom past them to the next scene (Lang et al, 2019). These motions work to alter the audience’s perception of space as they feel as though they are traveling with the camera throughout the scenes and house when space has really stayed the same (Krasner, 2013). Using a tilted camera angle on various frames including the house on top of the hill creates a disturbed and uncomfortable atmosphere as though ‘something is off’ (Krasner, 2013). The slow velocity of the sequence also builds a tone of suspect and mystery, both emotions fitted to the horror film genre (Krasner, 2013). The orange Halloween-inspired typography contrasts the images whilst reflecting the context of the Halloween-based film (Lang et al, 2019).
Another title sequence that successfully translates the tone and context of its attached media is the Chilling Adventures of Sabrina opening sequence 2018, animated by Robert Hack (Riesman, 2018). Likewise, to Zielinksi, Hack uses primary motion of comic-like drawings and brings them to life via camerapans, that ‘travel’ through the images in a timed sequence that accelerates and decelerates per scene(“Chilling Adventures of Sabrina,” 2018). Thismotion is eerie yet retro as it takes viewers through a sequence of images much like a comic book (Riesman, 2018). Small positioning changes of these primary objects add interest and lifelike characteristics (Krasner, 2013). The objects themselves include crows, spider webs and all things witchy to convey the witch series effectively whilst paying tribute to its original Archie Comic (“Chilling Adventures of Sabrina,” 2018).
Despite the 30yr time gap between both sequences, Hack’s isn’t too dissimilar to Zielinksi’s. Hack has clearly drawn inspiration from traditional motion design aesthetics through his objects drawn like quality rather than digital (Riesman, 2018). The credit headings also come and go per scene likewise to traditional sequences (“Chilling Adventures of Sabrina,” 2018). The images are also fairly still and simple to reflect this. Both effectively combine the elements of motion literacy to communicate the story of their narratives (Krasner, 2013).
Reference List
Chilling Adventures of Sabrina [WWW Document] (2018) Art of the Title. URL https://www.artofthetitle.com/title/chilling-adventures-of-sabrina/(accessed 4.12.21).
Krasner, J (2013) Motion Graphic Design: Applied History and Aesthetics. Taylor & Francis Group, Oxford, UNITED KINGDOM.
Lang, A., Landekic, L (2019) Night of the Demons [WWW Document]. Art of the Title. URL https://www.artofthetitle.com/title/night-of-the-demons/(accessed 4.12.21).
Riesman, A (2018) How Chilling Adventures of Sabrina Made Its Creepy Opening Credits [WWW Document]. Vulture. URL https://www.vulture.com/2018/10/chilling-adventures-of-sabrina-netflix-opening-credits.html(accessed 4.12.21).
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