Coraline

        The opening of Laika's Coraline works well as an introduction on the first viewing of the film, but arguably makes more sense on repeat viewings. The initial impression the viewer takes from watching the spider-like fingers made of needles unstitch and then reassemble a doll is one of unease, which prepares the audience for a sinister tale. The mutilation of the doll (symbolic of childhood and innocence) sets out the films intentions; being a child does not protect you from danger, while also attaching dangerous significance to the usually innocuous item, buttons.

        Having watched the entire film, the importance of smaller details becomes apparent. The form the doll takes before it is transformed is recognisable as the previous victim of the 'other mother' whose needle hands are initially disguised behind an ominously sweet façade, and that the doll is altered to resemble Coraline shows her to be the next. Consequently, rather than just being an introduction to the story, or a way of 'conditioning the audience' (Saul Bass), Coraline's title sequence is more a part of the story, albeit a part we wouldn't normally see, as the rest of the film is shown from Coraline's perspective.

        This is not the first time that a Laika production has used a title sequence that is an inseparable part of the film. The opening of Tim Burton's Corpse Bride depicts central character Victor's study of a butterfly, before the creature is released and the story begins. This serves as a valuable introduction into the sensitive and bookish nature of a character in a film where time is precious (the running time is a mere 77 minutes), while the rest of the characters and tone are established in the exposition.

        Laika's other well known animated feature Paranorman opens in a not too dissimilar fashion; Norman's affinity and interest in the supernatural being effectively shown as he watches an affectionate reconstruction/pastiche of a zombie flick. However Paranorman does have a more traditional title sequence in the end credits, utilising a style reminiscent of old B movie poster art work, interspersing still frames (when the credits are on screen) with minimal character animation to facilitate transitions between cretits.

        Overall, what this suggests to me is that in the context of films with short running times, title sequences need to be appropriately succinct.