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Picture edit: Cauleen Smith Sound: The Eternals

Presented by Chicago Film Archives and Music Box Films & Music Box Theatre

Footage courtesy of Chicago Film Archives

Made for the 2nd annual CFA Media Mixer, June 6, 2013 chicagofilmarchives.org/

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Pablo Ferro: A Short Documentary

Known for his distinct approaches to film title design, animation, and editing styles, Pablo touched on his collaborations with Stanley Kubrick and Norman Jewison, along with his contributions to seminal films such as Dr. Strangelove, Bullitt, and The Thomas Crown Affair.

While the time we spent with one of our heroes was never forgotten, it took us four years to find the "free time" in our studio's busy schedule to share the experience with others.

This internal project highlights Pablo's decades-spanning career with an opportunity to get insight from one of the masters.

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“THE FILM before THE FILM” is a short documentary that traces the evolution of title design through the history of film. This short film was a research project at the BTK (Berliner Technische Kunsthochschule) that takes a look at pioneers like Saul Bass, Maurice Binder and Kyle Cooper by showing the transitions from early film credits to the inclusion of digital techniques, a resurgence of old-school style, and filmmakers' love of typography in space.

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Part II.

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Errol Morris on how typography shapes our perception of truth.

Errol Morris is a writer and filmmaker. His movie “The Fog of War: Eleven Lessons From the Life of Robert S. McNamara” won the Academy Award for best documentary feature in 2004. “Believing is Seeing: Observations on the Mysteries of Photography,” a book of his essays (many of which have appeared here), and his latest book, “A Wilderness of Error: The Trials of Jeffrey MacDonald,” were both New York Times best sellers

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The films of Jean-Luc Godard have been written about perhaps more than any other cinematic works, often through the lens of cultural theory, but not nearly enough attention has been paid to the role of designed objects in his films. Collages of art, literature, language, objects, and words, Godard’s films have an instant, impactful, graphic quality, but are far from simple pop artifacts. The thesis this presentation derives from, “Objects to be Read, Words to be Seen: Design and Visual Language in the Films of Jean-Luc Godard 1959–1967,” explores and interprets the role of visual language within the films—title sequences, intertitles, handwritten utterances, and printed matter in the form of newspapers, magazines, and posters.

By examining le graphisme within the cultural context of Paris during the 1960s, this thesis seeks to amplify the significance of graphic design in Godard’s first fifteen films, beginning with 1960’s À Bout de Souffle (Breathless) and ending with 1967’s Weekend. While Godard was not a practicing graphic designer in the traditional sense, he was an amateur de design, an autodidact whose obsession with designed objects, graphic language and print media resulted in the most iconic body of work in 1960s France. --- The School of Visual Arts MFA Design Criticism Department presented “Crossing the Line: The 2010 D-Crit Conference" organized by graduating D-Crit students at the SVA Theatre in New York City on Friday, April 30 2010.