The document discusses how to analyze television drama title sequences. It begins by outlining the main functions of title sequences, which are to create recognizable images and sounds, set the genre and tone, provide expectations, and engage audiences. It then analyzes the title sequence of the show Dexter in detail, noting how it uses unusual music and disturbing close-up shots of mundane activities to unsettle viewers and set the dark tone of the show, without revealing plot details. Finally, the document encourages analyzing how title sequences achieve their intended functions and creating expectations for audiences.

1. 1
Number 045www.curriculum-press.co.uk
How to Read... Television Drama Title
Sequences
M tudiesSedia
A note about the texts
As this Factsheet is focusing on moving image texts, youtube links
will be provided for the texts being discussed and were correct at
the time of writing. If the links no longer work you should be able
to search on youtube or yahoo video to find title sequences for the
texts discussed.
At the heart of A Level Media Studies is the skill of practical analysis.
You will need to practice and develop this skill throughout your
studies as it is assessed in examinations and coursework. In the
exams for both AS and A2 you will be asked to analyse an unseen
media text and answer questions on a topic or case study. Both
sections of the exam test you practical analysis skills. In addition
you will need to analyse existing texts when planning your
coursework productions and then analyse your own work for your
evaluations.
The aims of this Factsheet are to:
• Focus on TV drama title sequences, to illustrate the method
used to construct a successful practical analysis
• Consider the institutional issues raised by title sequences
• Identify the way media concepts can be used to support the
analysis of television drama title sequences
AQA/WJEC/OCR?
Different awarding bodies have specific requirements for each
assessment but the analysis skills that are required for the topics
they specify are the same.
TV Title Sequences
All TV programmes have title sequences of some sort. They vary in
length between programmes and there are many different approaches
to the construction of titles. Often they have a very practical
function. In many fictional texts, the title sequence is used to give
details about the names of the actors, the writer(s) and the director.
This information can be provided in text across the bottom of the
screen or can be integrated within the titles themselves. Depending
on the length of the titles, this may continue into the programme. In
simple terms title sequences act as a location away from the
storytelling where information on cast and crew can be given to the
audience. These sequences are crucial parts of the programme as
they provide a ‘brand identity’ for the programme, convey narrative
information and act to help attract an audience, drawing them into
the programme itself. The use and structure of a title sequence is
often connected to institutional concerns in the first instance.
Title Sequences: US vs UK Institutions
Commercial television broadcasting in the US has influenced the
way titles are constructed. Many US fictions do not begin with the
titles but with some aspect of the fictional story – usually either a
‘previously on…’ summary of the story so far or with a scene that
goes into the titles with a cliff-hanger of some sort. This is because
commercial television in America runs commercials more often than
in the UK and producers need to engage their audiences very quickly
to stop them changing channels during the first advertising break
which usually runs before the title sequence. The pre-titles sequence
is called the teaser. In the UK, commercial television does not break
as often and programming usually begins with the title sequence
before the programme starts. The BBC does not need to consider
advertising breaks at all so some title sequences are little more than
theme music over simple, but easily identifiable images.
Some established US programmes have dispensed with title
sequences completely. Both:
• Gray’s Anatomy
(http://uk.youtube.com/watch?v=ndNAOTYkuEU)
• and Numb3rs
(http://uk.youtube.com/watch?v=TYHKkxn3yi4)
had typical title sequences in early seasons but later seasons simply
include cast and crew information as on-screen text superimposed
onto the first scenes as the programme begins and they use a single
title image to announce the name of the programme. Shorter title
sequences are better for commercial broadcasts as audiences can
get straight to the action and are less likely to look elsewhere for
entertainment.
Simple yet recognisable – the Eastenders title sequence.

2. 2
045. How to Read...Television DramaTitle Sequences Media Studies
www.curriculum-press.co.uk
Character information from the title sequence of Caliafornication
As the title sequence is watched over and over by the audience it becomes an important way
to identify the show and set the tone. Music is a crucial part of this – the Friends theme tune
became hit single and it is difficult to hear The Who without thinking about CSI. This memorability
is particularly crucial in helping the audience recognise the start of a programme – especially as
modern audiences have a tendency to ‘channel surf’ quickly through the channels when
selecting programmes to watch.
Life on Mars
Subscription broadcasters are less reliant on advertising income and so tend to run fewer commercial breaks. Their programming often has
longer title sequences which divide the teaser (if they use one) and the first act of the programme more decisively.
• Showtime’s Californication (http://uk.youtube.com/watch?v=jVa1RXyUyxw&feature=related)
• Dexter (http://uk.youtube.com/watch?v=SBN-wXgkUSM)
• HBO’s The Wire (http://uk.youtube.com/watch?v=J3t6io0vW-c,
• The Sopranos (http://uk.youtube.com/watch?v=3XFyvNIyjyc)
• Sex and the City (http://uk.youtube.com/watch?v=EpkmJhOr—Q)
Have relatively long title sequences and this relates to their institutional contexts.
Practical Analysis
One of the first things to consider in any practical analysis is identifying the main functions of your extract.
Activity
What is a title sequence for?
Whether in the titles or in the actual text itself, title sequences have a number of jobs to do as they act as introductions to what is to
follow:
• They create images and use sound that is intended to be immediately recognisable for the audience
• They help the audience identify the genre of the text
• They set the general tone of what is to come – this is closely related to genre. For example, audiences need to know whether the text
is to be treated lightly as in a comedy or if we are about to enter a serious situation as in a drama
• They need to create appropriate audience expectations
• They may provide specific narrative information about the text such as where and when it is set and who the main characters are
• They need to engage the audience and be interesting enough to persuade them to continue watching
When analysing any aspect of a media text, one useful approach is to identify its function and then consider how it attempts to achieve
what it needs to do. Media concepts are central to this and the most effective way to work out why a title sequence has been
constructed in the way it has is to apply the media concepts to what you see.
The less competitive and commercial history of British broadcasting means that UK programmes have traditionally had very simple title sequences–
evidenced when looking at the titles for Eastenders (http://uk.youtube.com/watch?v=cZYa_KfLTtM)
and Coronation Street (http://uk.youtube.comwatch?v=7H1M5oBKWE0&feature=PlayList&p=F3A521D7473328D4&playnext=1&index=27)
– both of which come from eras when audiences had only three or four
channels to choose from. As digital channels increase and competition
for viewers becomes more intense, some modern UK programmes have
adopted conventions from US television and are producing more
sophisticated title sequences that are graphically interesting and
engaging for example:
(e.g Spooks (http://uk.youtube.com/watch?v=TsoNjrrIqN4 )).
and Life on Mars (http://uk.youtube.com/watch?v=vavHlnztnuo)

3. 3
045. How to Read...Television DramaTitle Sequences Media Studies
www.curriculum-press.co.uk
An Example: Dexter (Showtime: 2006)
The Dexter title sequence is
constructed in a similar way to other
examples of the form in that it uses a
montage of images. However, it is
longer than conventional titles and
the editing between the images is
relatively slow. This follows a convention used in adult dramas
such as The Sopranos and The Wire where the titles construct a
summary of narrative and thematic information which is linked to
the programme itself. Dexter uses an unusual piece of music which
quickly becomes recognisable and associated with the programme.
The tone of the music is not wholly serious but rather than being
humorous it has an ironic tone which links to the images in the titles
and the show itself.
The first three frames of the sequence
are both shocking and closely related
to the themes of the show. In extreme
close-up we see a mosquito feeding on
a man’s arm (below) and the man killing
the mosquito.
The programme name follows, in red with ‘blood’ splashes (above).
The titles use a limited colour palette; the first third uses only red,
white and black. The titles follow the mundane activities of getting
up and having breakfast. The media language choices, however,
make these familiar activities appear strange and unusual as they
are presented in extreme close up, from unfamiliar angles and, in
the case of the shot of the mirror, without a clear focus. In addition,
some shots are accompanied by enhanced sound effects such as
the rasp of the razor as the lead character shaves. Red is repeated
through the titles in the blood caused by a shaving cut and blood is
also referred to on the way tomato ketchup is splattered and smeared
on the plate. All of the images: the breaking and slicing of the egg,
the frying of the meat and even flossing and tying up shoe laces
refer to iconographies relating to serial killer narratives.
Breakfast becomes loaded with potential violence
As all these images combine, slicing fruit and squeezing its juice
begins to have violent undertones. The final image of the titles
juxtaposes with this as we are shown the main character, represented
as an unremarkable, regular guy, enter a sunny mise-en-scene in
white clothing. The combination of the unsettling representation
of conventional images at the end act to make the final shot sinister
– even though there is nothing specific in the media language to
indicate this. As the protagonists leaves his house he makes direct
eye contact with the camera and there is a slight nod of
acknowledgement towards the audience. Where this would usually
be a positive image that would draw the audience in, as a resolution
to the titles it acts to include the audience in on a deception of some
sort as, despite the normality of the images shown, the way they are
represented indicates that all is not as it appears on the surface
here.
The lead character Dexter works for the police as a forensic expert
but is a serial killer who tries to apply a moral code by killing those
who evade punishment under the law. These are people he sees as
being as low as parasites – just like the mosquito in the opening
shot. This is an unusual representation of a hero and the audience’s
uncertainty as to what type of character he is begins in the title
sequence.
Dexter – Just a normal guy
Within the series Dexter’s point of view dominates and the audience
are often given insights into his perspective via voice-overs (as in
film noir) and so they are aware that, despite his outward appearance
of normality, Dexter has a secret life filled with violence and murder.
The title sequence makes ordinary events appear unsettling and
this ties in with the main theme of the programme.
The face of a killer…
A familiar domestic image
Without showing any violence, the sequence sets up the tone and
the audience would expect the programme to have a dark
undercurrent. The show offers some black comedy at times and this
is also in keeping with the atmosphere generated by the title
sequence – especially in the music. The music uses intertextuality
as it is similar to the theme from The Third Man (1949: dir. C. Reed)
which is a famous film noir and the genre is referenced through this
association. No plot information is provided in the title sequence
but the genre is implied, the general tone and themes for the
programme are identified and the audience is drawn into identifying
with the lead character, although his representation is a little
unsettling. The appeal of the title sequence is largely in enigma as
it provides no detailed information about the programme but implies
that it will contain mystery, intrigue and violence.

4. 4
045. How to Read...Television DramaTitle Sequences Media Studies
www.curriculum-press.co.uk
Acknowledgements: This Media Studies Factsheet was researched and written by Steph Hendry
Curriculum Press. Bank House, 105 King Street, Wellington, TF1 1NU. Media Factsheets may be copied free of charge by teaching staff or students, provided
that their school is a registered subscriber. No part of these Factsheets may be reproduced, stored in a retrieval system, or transmitted, in any other form or
by any other means, without the prior permission of the publisher. ISSN 1351-5136
Functions of title sequences
Create instantly recognisable images/sound.
Helps the audience identify the genre?
Sets the general tone of what is to come?
Creates appropriate expectations for the
audience?
Provides specific narrative information about
the text such as where and when it is set, who
the main character is?
Engages the audience and be interesting
enough to persuade them to continue
watching?
How does the title sequence achieve this?
Dexter
Another Example
Activity
Complete the following table using the title sequence and another that you are familiar with:
Exam Hint:- If you are given a TV title sequence to analyse in an unseen examination, make a close analysis of the media
language choices used and then identify how those choices help meet the general function of title sequences themselves.
Consider what information is provided for the audience and how appropriate expectations are constructed. Importantly, consider
how the title sequence would encourage the audience to continue to watch the programme.