Movie History Essay Example
Movie History Essay Example

Movie History Essay Example

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  • Pages: 10 (2479 words)
  • Published: December 17, 2017
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Motion pictures, created in 1895 by Auguste and Louis Lumiere, are a beloved art form in the twentieth century. Cinema is widely adored, and movie posters serve as tangible representations of these extraordinary films.

Movie posters are often said to convey the essence of a film. In certain instances, the poster and film are closely connected, speaking harmoniously with one another, where the poster serves as a summary of the film.

Movie posters not only reflect the development of cinema, but also the changing audience. In their essence, posters are advertisements that aim to resonate with the general public rather than the images on the screen. The history of film posters is an ongoing narrative that connects cinema with society.

With the increasing popularity of films, audiences were captivated by the sight of familiar faces on the screen. This, along with the ri

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se of feature films, gave birth to movie posters. As the demand for publicity grew and diversified, promoting movies became a specialized field. At first, printed images featuring prominent figures became a common practice in movie promotion.

The film 'The Man with the Movie Camera' was made in the 1920s to promote the idea of film as a tool for documenting everyday life. The poster reflected the film's style, breaking traditional images into fragments and intercutting them together to represent the events of the movie.

"Chevlocks Kinaopparatom (Der Man mit der Kamera), Dziga Vertov, 1929"
During the early 20th century, Charlie Chaplin films were immensely popular from 1921 to 1936. Throughout the past century, his character has evolved into an emblematic figure. With the aid of film promotion using posters and the movies themselves, his portrayal has been simplified

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Today, a simple bowler hat and rectangular mustache are enough for instant recognition by people. However, present-day audiences may be surprised when they see Chaplin depicted as a shuffling character since his iconic image does not match their expectations.

The images of Chaplin depict him in a completely contrasting manner. The poster for "The Kid" presents him as a character deeply and emotionally attached to a child. When combined, these portrayals symbolize the victory of love over hopelessness.

The posters in this collection are all created in the popular illustrative style of the time. The brush strokes used provide additional emphasis and evoke emotions in the images. These posters play a significant role in capturing the emotional essence of the films and enticing sentiment in the audience.

"The Kid, Charlie Chaplin, 1921"

"The Gold Rush, Charlie Chaplin, 1925"

"Modern Times, Charlie Chaplin, 1936"

Cecil B. DeMille directed the film Cleopatra in 1934. Despite his focus on religious epics, this particular film emphasized sexuality. In the role of Cleopatra, Claudette Colbert mesmerizes the audience with her captivating gaze and alluring pose. She entices viewers to join her while also teasing them with hidden secrets and the amusing activities happening behind her.

"Cleopatra, Cecil B. DeMille, 1934. Technicolor started making films featuring characters with unattainable qualities, which was also depicted in their posters. It is uncertain whether they intended to make multiple films centered around such characters."

Audrey Hepburn is depicted as a sleek and graceful feline, possessing an extraordinary physique and vast wealth. Adorned in fashionable attire and meticulously groomed, she is as slender as her cigarette holder. All of these attributes are perceived as qualities of the "ideal" woman, creating an

image that is both irresistible and unachievable.

"Breakfast at Tiffany's", directed by Blake Edwards in 1961, marked a significant turning point in cinema. However, looking back a decade earlier, the film industry was introduced to musicals. "42nd Street" in 1933 depicted the enchanting world of musicals, showcasing glamorous lifestyles and exploring love as a common theme.

The poster emphasizes one of the main elements of the show, namely the dancers. The show has gained popularity for its songs and dance numbers, and now the poster evokes memories of these songs and dances. When it was released, the poster conveyed that glitz and glamour would be prominent in the show. This painting, similar to previous ones, depicts a scene that captures the essence of the entire show, despite some slight disproportion in the body and arms.

"42nd Street, Hubbard G. Robinson and Joseph Tisman, 1933"

Posters for musicals showcased the essence of the show, just like the examples in '42nd Street' and 'Singin' in the Rain.' These posters displayed the three main characters singing and dancing in the rain, capturing the charm of simplicity. Musicals were inherently glamorous, making it unnecessary for their posters to depict this aspect. Instead, most promotional posters focused on featuring the film's stars and its title. A prime example of this approach is seen in the poster for 'Gigi.' Originally a renowned stage production, its reputation led to its adaptation into a film to reach a wider audience.

One exception to this rule is the film 'Singin' in the Rain,' which was directly released in cinemas but followed the template of other musical posters. The main attraction for audiences was Gene Kelly, who was renowned for

his musical performances, and just his presence on a poster ensured a promising and entertaining show.

'Singin' in the Rain', a film directed by Stanley Donen and starring Gene Kelly, was released in 1952.
During the late 40's and early 50's, the introduction of cameras revolutionized movie posters. Previously, posters were made using painting or drawing techniques. With the advent of cameras, producers and publicists could now exhibit the physical appearance of their actors to audiences before they watched the movie.

In the past, posters used to depict stars in a stylized manner, altering their appearance to fit the character being promoted rather than accurately advertising the star.

While it took some time for this method to be widely adopted, publicists initially tried combining traditional methods with the inclusion of photographs of stars to emphasize significant moments and story plots. The poster for 'The Big Sleep' serves as a prime example of this approach, featuring black and white photographs of characters captured at different points in the film. These images are juxtaposed against a vibrant painted background.

"The Big Sleep, (Le Grand Sommeil), a film directed by Howard Hawks and produced by Vincent Cristellys in 1946. Howard Hawk employed the same technique in his movie 'Bringing up Baby.' The combination of photographs and illustration highlights the contrasting aspects of the film. The photographs capture the elegance of the main characters, while the illustrative elements portray the quirkiness of the film's comedy."

"Bringing up Baby, Howard Hawks, 1948."
After the war, there was a decrease in the number of successful American films released. This decline provided an opportunity for British studios to showcase their capabilities. Nevertheless, this period was short-lived

as blockbuster movies regained popularity and proved to be overwhelming for the British studios. Consequently, in 1955, their assets were sold.

Ronald Searle, a cartoonist, designed the poster for the 1951 Ealing Studios film 'The Lavender Hill Mob.' Searle's cartoon-style drawings, depicted as a background, brilliantly capture the essence of the characters. These lively and vibrant ink drawings are enhanced by a wash of color. The poster showcases a scene from the film and includes school girls, reminiscent of Searle's St Trinians Mob. Additionally, a photograph of the film's two main actors is featured, with their jovial faces resembling caricatures.

"The Lavender Hill Mob, Ronald Searle, 1951."

Pink String and Sealing Wax, also produced by Ealing studios, depicts a tale of murder and adultery in Victorian Brighton. The poster beautifully captures this essence with a blend of photography and illustration, showcasing vibrant and ornate facades of the buildings against the backdrop of dark streets. The imagery suggests a hidden unpleasantness surrounding the illustrations.

"Pink String and Sealing Wax, John Minton, 1954."

West Side Story was released in 1961, transforming the contemporary adaptation of Romeo and Juliet from stage to screen. The poster, designed by Saul Bass, skillfully encapsulates the film's essence with minimalistic imagery. The red portion represents the violence and animosity depicted in the story, while the black alludes to the hidden dangers and darker aspects of the narrative. The imperfect writing style mirrors the dilapidated tenement buildings where the families reside in New York City.

"The Birds," a film directed by Alfred Hitchcock in 1963, is another blood chilling creation by him. The poster for this film is quite simple yet reflects a scene from the

movie. Hitchcock utilizes the Polish word for bird, ptaki, repeatedly and to the point of disintegration and overlap, resulting in a depiction of a winged skull. This image serves as an equivalent representation of the chattering flock scene in the film, aiming to evoke suspense and dread in the hearts of the audience.

"The Birds" by Bronislaw Zelek was created in 1963. The poster for Barbarella, released during the same time period, reflects the vibrant colors and trends prevalent in fashion and lifestyles. The design draws inspiration from comic book sketches and layouts, incorporating images and speech bubbles. This artistic choice successfully portrays the science fiction character and captures viewers' attention with its bold colors, while the use of speech bubbles directs the eye across the poster.

"Barbarella, Robin Ray, 1968."

Dirty Harry, a character not to be underestimated, derived his power from his gun. This is evident in the movie posters of Magnum Force, featuring Clint Eastwood in shades of grey and black against a pale background. The varying tones and positions of the gun depict its firing, while the character maintains a cold and determined expression, always playing second fiddle to the weapon.

"Magnum Force, Bill Gold, 1973."

In 'One Flew over the Cuckoos Nest,' Jack Nicholson portrays a psychiatric patient. The movie poster showcases him leaning casually on a fence made of barbed wire and mesh. Despite his pleasant grin, his eyes gaze upward, implying a sense of mental liberation. However, it is evident that there are noticeable obstacles to this notion. The presence of the fence keeps him confined, although it remains subtle in the background. Additionally, the red padlock attached to the letter 'o'

emphasizes the lack of any possible escape.

One Flew over the Cuckoos Nest, Milos Forman, 1975.

An Illustrator, Bob Peak, was commissioned to produce artwork for the film 'Apocalypse Now.' The film's promotion featured five images created by Peak. The chosen image, which became one of Peak's favorites, showcased his signature style with montages of scenes from the film. To meet external expectations, Peak focused on the main star placed in the center of the image, surrounded by the chaotic elements.

"Apocalypse Now, Bob Peak, 1979."

In order to attract a broader audience, especially women, when Empire Strikes Back was released, the company aimed to use the poster as a means to entice new viewers. They focused on glamourizing the romantic elements of the film, emphasizing its significance by placing it at the center of the poster amidst other captivating scenes. Through this montage, it showcased that despite the intense events occurring, love still found its way.

"The Empire Strikes Back" is a 1980 film created by Roger Kastel. One of the most iconic scenes from the movie ET is the fingers touching scene, which is universally recognized and often depicted on posters.

The meeting fingertips in this image are a reference to Michelangelo's 'Creation of Man.' When compared to the original composition, ET's hand is in the position of Adam, and the child is in the position of God's.

E.T. the Extra-Terrestrial, John Alvin, 1982.

The poster for 'Belly of an Architect' is a visually stunning piece created by designer Martin Huxford. It features a wooden frame and includes three-dimensional objects that resemble elements from the film, possibly influenced by the director's background in fine art. The combination of the photograph and

text creates a sense of depth, making it more captivating and impactful.

"The Belly of an Architect, Martin Huxford, 1987."

Another movie poster that stands out for its simplicity is the one created for 'Malcolm X,' a film directed by Spike Lee. It showcases a prominent X against a black backdrop and solely reveals the release date. This minimalistic approach effectively stirs various feelings and strikes a chord with spectators. The X in this design represents the ideas and principles of Malcolm X, an influential African-American political activist. Without question, it is an exceptionally powerful symbol.

"Malcolm X, Spike Lee, 1993. The 'Trainspotting' poster was a collaboration between Stylorouge, who handled the design, and Lorenzo Agius, the photographer."

The train ticket design was the obvious choice, but it ended up surpassing everyone's expectations.

The poster is crucial in providing information about the film's release date and introducing the characters. It features black and white photos that capture the rawness and gritty essence, emulating the journalism style of that era. This emphasis on attitude rather than conventional beauty is important. Additionally, the poster helps accurately depict the characters, which can be challenging when adapting a book into a film. By introducing the audience to the characters beforehand, it allows them to become familiar with these individuals prior to seeing them on screen.

"Trainspotting, Stylorouge, Lorenzo Agius, 1996. 'The Truman Show,' depicted the life of a regular man, engaging in everyday activities, who unknowingly had been televised since birth."

This character, played by Jim Carrey, is depicted on the movie poster. He can be seen looking upwards with a smile on his face. The image stands out due to its combination of simplicity and

intricacy – it consists of multiple photographs capturing regular people involved in their daily routines. This visual element serves the purpose of emphasizing the character's role in the storyline; he embodies a "celebrity everyman" and acts as a reassuring symbol of normality.

"The Truman Show, Roger Silver, 1998." Several images and posters were made for 'Lord of the Rings, The Fellowship of the Ring,' marking the beginning of an incredible cinematic journey.

The passage includes essential elements for the audience to recognize the characters in the story. Traditional associations, such as black representing evil and white symbolizing goodness, are utilized. The ring wraiths wear black and are surrounded by a dark shadow and mist at the lower portion, but as they ascend towards the other characters, they are portrayed in a kinder and more compassionate manner. Each character maintains eye contact with the audience, engaging them in the narrative and making them feel involved. This is especially meaningful as it fulfills a long-standing anticipation and is highly valued.

"The Lord of the Rings, The Fellowship of the Ring, Peter Jackson, 2001." Movies will always come and go from box office, alongside the everlasting existence of movie posters. Today, numerous enthusiasts collect posters from various genres and eras. The passion for collecting will persist, with new collectors joining in. As for me, I have already initiated my own collection, driven by my deep interest in this form of film merchandise. Each poster represents a cherished fragment of entertainment history and a treasured memory.

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