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ALM (David), « The Art of Motion Graphics in Film », Soma Magazine , 2004
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AXELSSON (Lars), « Directed by... », Chaplin (Stockholm), vol.14, n.7, pp.240-242.

BACH (Robert O.), « Hall of famers typify best of art direction », Advertising Age, 2.4., 1979, pp.57-58.
BASS (Saul), « Film advertising », Graphis Vol.9, n.48, pp.279-289.
BASS (Saul), « Film titles - a new field for the graphic designer », Graphis Vol.16, n.89, Mai 1960, pp.208-216.
BASS (Saul), « Film titles - a new field for the graphic designer », in JACOBS (Lewis), The emergence of film art: the evolution and development of the motion picture as an art. From 1900 to the present , New York: Hopkinson and Blake, pp.382-383.
BASS (Saul), « Movement, film, communication », in KEPES (Gyorgy): Sign, image, symbol., New York: Braziller, 1966, pp.200-205.
BELLE (Marvin), « Promises in the dark », Showreel Magazine , 2004.
BENENSON (Laurie Halpern), « The New Look in Film Titles : Edgy Type That's on the Move », New York Times , 24 Mars 1996, section 2, p.22.
BILLANTI (Dean), « The Names behind the titles », Film Comment , n.3, 1982, pp.60-70
BOXER (Sarah), « Film titles offer a peek at the future in more ways than one », The New York Times , 22 avril, 2000, p.9.
BODGER (Lowell A), « Modern approach to film titling », American Cinematographer Vol.41, n.8, Août 1960, pp.476-478.
BORDWELL (D.), « Happily Ever Aftre, art Two » , Velvet Light Trap n.19, 1982, pp.2-7.
BURLINGAME (Jon), « Movie credits find new currency in retro images » , Los Angeles Times , 04.01.2003.

CANBY (V.), « Film view: giving credits their due », New York Times, 5.10.1980, p.19.
CANJELS (Rudmer), « Featuring on Stage : American Prologues in the 1920's », in INNOCENTI (V.) & RE (V.), Limina/le soglie del film : film's thresholds , Udine: Forum, 2004, pp.309-320.
CARO (Marc), « Title Wave », Chicago Tribune , 10 Déc.1995, Section 7, p.20.
CAROLL (Nick), « Meeting Imaginary Forces », Clutter Magazine , 2005.
CHASE (C.), « What's a gaffer, anyway ? », New York Times 133, 03.06.1984.
COUPLAND (Ken), « Imaginary Forces: taking all the credit », Graphis , vol.54 n.312, Sept./Oct. 1998, pp.66-73.
CRAWLEY (Tony), « Meet the man who gets the Bond Films off to a sizzling start », Showtime Magazine , 1964, pp.22-23.
CROAL (N'Gai), « Where credits are due », Newsweek , 12 Nov.1997, p.92.  

DORFSMAN (Louis), « Film Titles and Captions » , Graphis/Film & TV Graphis 2 , 1976.
DUNN (Linwood), « Effects and titles for West Side Story », American Cinematographer Vol.42, n.2, Déc.1961, p.736.
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EDGAR (Ray), « Micro Film », World Art , n.18, 1998, pp.24-29

FARINO (Ernest D.), « A flash in space: creation of the SF Film Productions logo », Cinemagic (New York), 1979, Vol.1, n.2, pp.24-27.
FICKES (Michael), « Making a Scene : Zorro on Fire », Markee Magazine , 2005.
FIESTENBERG (Z.), « Credits where credit is due », American Film Vol.9, n.6, 1984, p.80.
FOSTER (Frederick), « New look in film titles », American Cinematographer Vol.43, n.6, Juin 1962, p.356.

GAGNE (Paul R.), « Science fiction typographics », Cinefantastique Vol.10, n.4, Printemps 1981, pp.36-41.
GID (R.), « Saul Bass: new film titlings and promotional films » Graphis Vol.19, Mars 1963, pp.150-159.
GINGOLD (Michael), « Title Frights », Fangoria , n.160, 1996, pp.52-53.
GLASSMAN (Marc), « What's a Title Sequence », Montage Magazine , hiver 2002.
GLOVER (Kara), « Saul Bass is a designing man », Los Angeles Business Journal , 3 Sept.1990
G LUCKSMAN (Mary), « Due Credit » , Screen International , 13 Mai 1994.
GRAIGNE (Paul), « Branding Hollywood: studio logos and the aesthetics of memory and hype », Screen , vol. 45, n.4, 2004, pp.344-362.
GUERIN (Frances), «   When Beginnings and Endings Distort Images of the Past », in INNOCENTI (V.) & RE (V.), Limina/le soglie del film : film's thresholds , Udine : Forum, 2004, pp.247-256.

HARBORD (Janet), « Bass takes the credit », Broadcast , April 18, 1986, p.17.
HARMETZ (A.), « Technology brings new film credits », New York Times 132, 8.11.1982.
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HELLER (Steven), « Mr. Roughcut », Eye n.32, Eté, 1999. HONEYCUTT (Kirk), « Whose film is it anyway ? », American Film Vol.6, n.7, Mai 1981, pp.34-36.
HUSER (Rembert), « (Hand)writing Film History: Saul Bass draws Martin Scorsese a title sequence and writes his name underneath », in NEEF (S.), DIJCK (J.V.) & KETELAAR (E.), Sign Here! Handwriting in the Age of New Media, Amsterdam University Press, 2006, pp.164-181.

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LANG (M.), « Gallery: movie titles », Millimeter Vol.12, September 1984, pp.161-162.
LAUBE (C.), « Does title sell film to audiences ? », Classic Images n.85, Juill.1982, p.46.
.........

MAGID (Ron), « The Son of the Pink Panther Inherits Titles », American Cinematographer , Déc. 1993
MOOTH (Bryn), « Interview with Karin FONG », HOW Magazine , 2006.
MORTON (Lawrence), « The Music of Objective Burma », Hollywood Quarterly , Juillet 1946, p.378

NAUGHTON (John), « Credit Where Credit's Due » , Empire , Mars 1994.
NICKELL (Joe), « The Art of Prelude », Res , Hiver 1998, p.14-19.

PETERS (David), « Titles then and now: technology transforms the modern film title » , in Digital Cinema , Eté 2002.
PRATLEY (Gerald), « Otto Preminger: possessive credit », in PRATLEY (G.), The cinema of Otto Preminger , New York: Castle Books, 1971, pp.159-161.

RODMAN (Howard), « The Name behind the Title » , Village Voice, 12 Juillet 1988.
ROSSER (Ed), « Saul Bass », Cinema Papers (Australie), n.11, Janv.1977, pp.238-239.

SRAGOW (Michael), « Ghostwriters. Unraveling the enigma of movie authorship », Film Comment Vol.19, n.2, Avril Mai 1983, pp.9-18.
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SUPANIC (Jim), « Saul Bass », Film Comment , XXXIII, n.2, Mars Avril 1997, pp.72-77.

TAYLOR (C.), « New movies for old », Movie Maker Vol.19, Août 1984, pp.22-24.
TYKBERG (Casper), « The Mark of the Maker : or, Does it make sense to speak of a cinematic paratext ? », in INNOCENTI (V.) & RE (V.), Limina/le soglie del film : film's thresholds , Udine : Forum, 2004, pp.481-488.

WHITAKER (Rod), « Titling », The language of film , N.J.: Prentice Hall, 1970.
WILLIAMS (David E.), « Initial Images: main title sequences », American Cinematographer , Mai 1998, pp.92-98.
WOLF (Henry), « Saul Bass », Graphis n.41, n.235, Janv. Fév.1985, pp.28-35.
WOUDHUYSEN (James), « Bass Profundo » , Design Week , 22 Sept. 1989.

ZEITLIN (David), « What a way to start », Life 56 , 1964, pp.99-101.

Auteurs non spécifiés

[1910 - 1968]

« Giving credit where credit is due », Moving Picture World 6 vom 12.3.1910, S. 369-370.
« Movies. Man with a golden arm », in Time 1976 vom 16.3.1962, S. 46.
« Saul Bass », in Print Vol.11, No.6 (May-June 1968), S. 17-37.
« Titles: coming on strong », in Newsweek 72 vom 8.7.1968, S. 64-65.
« Checklist 60-Saul Bass », in Monthly Film Bulletin Vol.35, No.415 (August 1968)

[1973 - 1987]

« New King Kong, Deep Jaws and Teenage Graffiti » prompt title bouts », in Independent Filmjournal (New York) 77 vom 30.4.1976, S. 7.
« The compleat film-maker - from titles to features », in American Cinematographer Vol.58, No.3 (March 1977), S. 288-291 ff, 1977
« Coppola asks 70M Apocalypse prints not carry credits », in Variety Vol.290 vom 26.4.1978, S. 3 f.
« In focus: credits - at any cost », in Filmjournal (New York) 83, June 1980, S. 2 f.
« Obliterating an actor's credits actionable; appeals court finds Montoro damaged Paul Smith », in Variety Vol.303 vom 1.7.1981, S. 25 f.
« Books: credits, where credits are due », in Filmcomment Vol.18, September-October 1982, S. 78-79.
« Ebony and ivory: the Cotton Club titles », in On Location (Hollywood) 8 (January 1985), S. 164.
.........

ARON (Eric), « How to Be a... Graphic Designer »,
in NEFilm, 2001
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http://www.artbeats.com/community/article.php?id=27

Creating a title sequence (pédagogie en anglais)
http://www.teachit.co.uk/pdf/227titles.pdf

« The Computer cafe group titles for the movie Panic Room »
http://www.reservocation.com/02_04/art_cc_pg01_02_04.html

An interview with Akira Orikasa (Panic Room)
http://www.rendernode.com/articles_p.php?articleId=89

Générique de la série HBO « Carnivale »
Site officiel : http://www.hbo.com/carnivale/behind/credits/
Making: uemedia.net/CPC/designinmotion/article_4007.shtml

JAWETZ (Gil), in « Entering the Panic Room… »
http://www.dvdtalk.com/cinemagotham/archives/000536.html

GLOVER (Kara), Saul Bass is a desigtning man, 1990
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mi_m5072/is_n36_v12/ai_8908508/print

KNOPPER (Steve), « Paying respect to the designers who start off the show », in Chicago Tribune, 12.05.2002
http://www.imaginaryforces.com/
html/index.html?s=news&q=2&id=40

Picture Mill talks about their work in The Village
http://www.cgfocus.com/Article Details.cfm?ArticleID=267

MAKAL (Katie), Picture Mill Titles Shyamalan's The Village
http://www.uemedia.net/CPC/videography/printer_9370.shtml

RASKIN (Richard), Closure in Truffaut’s 400 Coups
Source: P.O.V., 1996
http://imv.au.dk/publikationer/pov/ Issue_02/section_3/artc3B.html

RASKIN (Richard), Closure in The Third Man
Source: P.O.V., 1996
http://imv.au.dk/publikationer/pov/ Issue_02/section_3/artc3C.html


SORENSON (Daniel), After Effects 7 Title Design, in Lynda
http://movielibrary.lynda.com/html/modPage.asp?ID=208

THOMSON (Patricia), « Vanity Fair: Opening »
Source: American Cinematographer, 2004
http://www.theasc.com/magazine/sept04/vanity/page4.html#
.........

Collectif, « Film Titles », in P.O.V (Danemark) 1996
http://imv.au.dk/publikationer/pov/
Issue_02/POV_2cnt.html#onIssue

(Inconnu), « Titles », in TV Cream
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films/ideal/ideal2.htm

COUNTS (James), in « The art of film titles »
Source: 24 Architecture
http://www.twenty4.co.uk/on-line/
issue001/project01/proj01index.htm

FILMLINC, « The art of film titles »
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FRANTZ (Matt), Changing Over Time: The Future of Motion Graphics, 2003
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research/motiongraphics.html

KAU (Edvin), « Great beginnings and endings… »
Source: P.O.V., 1996
http://imv.au.dk/publikationer/
pov/Issue_02/section_3/artc3A.html

KING (Emilie), Taking credit : film title sequences
http://www.typotheque.com/site/ article.php?id=88

KOLSTRUP (Soren), « The film title and its historical ancestors », in P.O.V., 1996
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McCORT (K.), « Titles throughout time », in Millimiter, 2002
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LINEKIN (Kim), « Credit check », in Eye Weekly (Canada)
http://www.eye.net/eye/issue/issue_11.01.01/film/titles.html

RASKIN (Richard), « Closure in Truffaut’s Les 400 Coups… »
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pov/Issue_02/section_3/artc3B.html

RASKIN (Richard), « Closure in The Third Man »
Source: P.O.V., 1996
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THOMSEN (B.M.), « Functions of the film title… »
Source: P.O.V., 1996
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TYLSKI (Alexandre), A Study of Jaws incisive overture
Source: Filmscoremonthly, 1999
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1999/14_Sep---A_Study_of_Jaws_Incisive_Overture.asp

TYLSKI (Alexandre), E.T. a dark and brilliant overture
Source: Filmscoremonthly, 1999
http://www.filmscoremonthly.com/
articles/1999/04_Aug---Scene_Study_ET_1982.asp

ZAGALA (Anne) « The Edges of film », in Senses of cinema
http://www.sensesofcinema.com/
contents/02/20/titles.html#b4