William Golden, (1911 1959), Creative Director of Advertising and Sales Promotion at CBS television was responsible for a Modernist revolution that defined broadcast design and titles during the live era of television as a 'modern' and 'prestige' production.
The historical avant-garde in Europe had two sets of detractors, distinct from one another: the academicians and the bourgeois. In responding to these groups, they have been combined and attacked collectively, as in Baudellaires essay To the Bourgeois that attacks both groups for their incomprehension of Impressionism and rejection of modern subjects. In the United States, both groups in this cultural conflict would be combined, as would the division between avant-garde and Modernist, creating a different dynamic in the evolution of Modernism.
Edward E. Zajac (1926-2011) created the first computer film as a way to visualize the modeling of the astrophysics work he was doing that was concerned with the orbital dynamics of communications satellites. It is the ability to use digital software to model, and then generate, visual imagery depicting complex, labor-intensive subjects for traditional animation that is the initial reason for the development of computer animation in the 1960s at Bell Labs in New Jersey.
Twin Peaks (1989) employed a title sequence unlike anything produced for an on-going, broadcast television program before it. The theatrical feature length title sequences designed by Wayne Fitzgerald for the premiere episodes of Battlestar Galactica and Buck Rogers, while longer than the titles in other television programs, were also special title sequences that were not used again during the course of the programs run; instead shorter, more typical titles for television programs replaced them for the remaining episodes in the series; this was not the case with Twin Peaks.
The Cabinet of Dr. Caligari (1919) presents one of the earliest examples of kinetic typography integrated into the dramatic action, functioning within the narrative space of a fiction film in a way that is clearly distinct from the more prosaic applicationssuch as a character reading a letter where the letter itself is shown to the audienceCaligaris reaction to the appearance of the typography within the visual space of the climactic scene is a highly unusual moment in an already unusually experimental feature. The use of diegetic and non-diegetic type is extremely common in the silent era film precisely because it did not have the technical capacity for synchronous sound; however, the typography in The Cabinet of Dr. Caligari is of a different character entirely than those commonly used. It appears in the film not in the form of a letter or book, but as a visualization of madnessas the dramatization of the films climax.
