Movement and motion are deeply embedded in the human experience. Between everyday life, pop culture, art, and film, “visual and verbal information with the dimensions of motion and time can tell stories with expression, clarity and meaning.” (Krasner, J. 2013)

Whilst motion graphics began as early as the 1800s, it was the application in title sequences in the 1980s that Kinetic typography became mainstream. (Krasner, J. 2013) This milestone was synonymous with the uprising of Richard Greenberg, a globally renowned motion designer responsible for the main titles for Altered States and Dead Zone, both of which utilise kinetic typography to convey emotion and “create complex semiotic experiences through metaphor and motion” (Krasner, J. 2013) 

Greenberg's lasting influence on motion design is evident in the 2016 show Stranger Things, whose title sequence, featuring kinetic typography, is a modern example of his pioneering work.

Altered States (1980)

Richard Greenberg's title sequence for the film Altered States functions as a prospective mise-en-abyme, employing kinetic typography and primary motion to act as a “metaphor of the film itself.” (Post, J. 2015). 

The sequence opens with the modified and disjointed letters of ITC Avant Garde Gothic, gradually invading the screen and evolving into a lens through which viewers observe the unsettling scene unfold.

Nancy Skolos and Tom Wedell discuss the relationship between type and image, “there is automatically a dialogue between them, and each can pull the other in many different directions” (Skolos, N; Weddel, T. 2006). This dynamic is echoed in Greenberg's work, where the fragmented typography deconstructs the scene. The image becomes a “text that has to be read…while the text itself consists of filmic images that have to be viewed.” (Post, J. 2015)

The direction of Altered State's score and sequence effectively conveys sensations of tension, disorientation, and hallucinatory intensity, aiming to unsettle spectators and “be interpreted as a metaphor of the first trip because that’s what the movie is about” (Landekic, L; Albinson, L. 2013)

The Dead Zone (1983)

Similar to Greenberg’s Altered States, The Dead Zone employs Kinetic Typography and primary motion to evoke feelings of anxiety and unease. However, unlike Altered States, The Dead Zone employs this technique in a contrasting manner. Instead of using the Helvetica typography as a window into the imagery, it utilises negative space surrounding the text as a lens into the film as the type encroaches upon the screen. This approach leaves viewers unsettled, as they anticipate the emergence of shapes on the screen, only to discover later that these shapes combine into the film's title.

Moreover, the low contrast of the type against the film's moody shots creates a gradual realisation of its presence, culminating at 0:43 seconds when the content builds to the point of realisation. 

For the initial 2 minutes and 28 seconds, the sequence relies on primary motion until a pivotal moment when the camera pans out to reveal the film’s title. This shift in perspective prompts viewers to reinterpret the random shapes as the negative space around the text, intensifying the sense of disorientation.

Stranger Things (2016)

The impact of Richard Greenberg's contributions extends to modern productions, notably evidenced in the 2016 television series Stranger Things. 

Central to the sequence is the prominent use of Benguiat, a large, hollow typeface selected for its association with early 1980s Stephen King paperbacks. 

Within the void of the sequence, the typeface drifts gradually, its glowing red edges piercing through the darkness as smaller credits intermittently fade in and out. This choice of scale, as noted by Klimister (2016), evokes a sense of edginess and unease, heightened by the implied violence conveyed through colour and sharp edges.

The Stranger Things title sequence was meticulously crafted to emulate the visual aesthetics and motion graphics prevalent in the 1980s. According to Michelle Dougherty of Imaginary Forces, the creative team sought inspiration from opticals of the 1980s, “when we were looking at opticals from that era, we were basically looking for the mistakes. You’re watching light pass-through film so there’s this beauty to it, but there’s also mistakes that happen along the way.” (Dougherty, M. 2016)

To authentically replicate this aesthetic, Dougherty experimented with the use of Kodalith, which is a "black piece of film with a transparent area where the letters would be — and shoot light through that. You’re basically mimicking what film does with the light passing through the film.” (Dougherty, M. 2016) This fusion of analog and digital techniques not only enhanced the nostalgic appeal of the opening sequence but also imparted it with an organic and tactile feel. Paired with the haunting pan and music, this approach instils a feeling of unease in viewers.

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Mirroring Greenberg's approach in Altered States and The Dead Zone, the Stranger Things title sequence predominantly employs primary motion, with text dynamically moving across the screen. However, at 0:27 seconds, a pivotal moment occurs as the camera pulls back, causing the typography to converge and reveal the show's title in its entirety.

The sequences discussed above exemplify an expert application of motion literacy fundamentals, integrating primary and secondary motion alongside careful temporal considerations to effectively convey the tone and content of the respective films and shows. Greenberg's work and the Stranger Things title sequence draw upon the aesthetics of earlier pieces, evoking nostalgia while incorporating modern visual techniques. Moreover, by embracing both optical and digital methods, designers bridge the gap between past and present, infusing their work with authenticity and texture. Personally, these sequences inspire admiration for the creativity of motion designers, highlighting the power of visual storytelling. They serve as valuable sources of inspiration for future projects, highlighting the ongoing influence of Greenberg's legacy and the timeless charm of kinetic typography in title sequences.