The article explores the concept of film opening sequences as a bridge from reality to a fictional universe, emphasizing the importance of imagination in engaging with films. It highlights the technical evolution of credits from the early 1900s to the grandeur of productions like 'Gone with the Wind', which set a new standard for cinematic storytelling. By referencing Shakespeare's 'Henry V', the author illustrates how both theatre and film rely on audience imagination to create immersive experiences, establishing a connection that enriches the viewing context.
The opening sequence of stands out as a liminal masterpiece, leading us resolutely from a handful of over-salted popcorn in a darkened room, to the make-believe world of its heavy-handed commercial and homoerotic film franchise.
The opening of Henry V does follow a similar logic: the chorus' prologue asks us, point blank, to use our imagination to supplement limitations of a theatrical stage.
In 1939 the film Gone with the Wind opens with epic music and sweeping footage of bucolic vistas to set the stage for a highly romanticized version of the old south.
When productions swelled and large studios took hold, more money-people needed credits, and the studio needed to be recognized as a brand.
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