ABSTRACT
Chapter 4 is a case study of Pablo Ferro’s fusion of title credits with montage in Bullitt (1968). This design establishes the narrative emphasis familiar from Giles Deleuze’s analysis of realism by marking the difference between narrative and crediting functions for the type. This chapter applies the framework of the ‘reading-image’ as an incompatible realist presentation from that of narrative that is specific to motion graphics. Bullitt transforms the discourse in the opening shots into fabula, a paradox of articulation that establishes them as both non-narrative statements and essential narration for the ‘realist fiction’ that follows.
