Monday, 15 December 2014
Movie Poster Research - Raiders of the Lost Ark
'The Return of the Great Adventure' is an interesting strapline as it both suggests a harkening back to an older style of cinema, where adventurers and goodies vs baddies was more common, but also a new spin on the style, which could appeal to both older and younger audience. The title is reminiscent of an old comic book title or of a Douglas Fairbanks Jr film, as well as being exciting and intriguing, which links back to the idea of a 'revisiting' of the adventure genre.
Harrison Ford, with his buttoned down shirt, active stance, raised weapon, and Eastwood-esque headgear, is the classic adventure hero, fending off the heinous nazis with one hand back to protect both the story's heroine, and the Ark. The tone of the poster is thrilling and action packed with a lot to take in, whilst still retaining an emphasis on the characters and features of the film itself. The nazis are all straight-faced and solemn, a sense of formality surrounding them and contrasting with the not-altogether-groomed look that Ford is sporting, clearly painting him as the anarchic and free thinking hero to battle the authoritarian nazi antagonists. The tone of the poster is compliant as such, with a playful and fun spirit behind it that is combined with the thrilling and active imagery of adventure.
There is reference to the older genre of adventure films in the poster, and many of its hallmarks are drawn on. Obviously nazi and obviously middle eastern figures appear, a feature of the more conservative nature of earlier Hollywood cinema, and the poster's style of art and arrangement is distinctly evocative of film posters of that era.
The film is obviously directed at a younger male audience, with the poster featuring stereotypical 'hero' and 'damsel' figures, and presenting a sense of morality that is simpler and more 'black and white'. The attractive female and aspirational male are obviously directed at a certain gender. In terms of age, the genre would traditionally appeal to younger consumers, although there is an attempt to be more 'catch all' in the revisiting of an older genre and the angle that that is directed in.
In terms of representation, all but one of the figures appearing on the poster are men, all but two are white, and all but three are white men. The woman is in a submissive, frightened pose that depicts her as the 'damsel' figure who needs protecting by the manly Ford. The two middle eastern men on the poster are not central to the plot particularly and can thus be viewed as having been put in the poster as 'curiosities' to make the film seem more exotic or adventurous. This, paired with the depiction of the evil nazi German antagonists could give an air of xenophobia to the poster.
The poster is very effective at conveying genre and character through colours, figures, and imagery. It draws in a wide audience with promises of excitement and adventure whilst remaining a sophisticated and eye catching piece of advertising.
CM
Movie Poster Research - The Godfather
The anchorage of this poster of "The Godfather" is of major importance for a first time viewer of the film. Without it, one would imagine a comic book, possibly of Marvel's darker section with the black and red dominating the poster. With the text however one realises that the poster actually represents a film, shown through "Paramount Pictures Presents" which not only shows the poster as advertising a film but also attempts to entice fans of the production company Paramount to see the film. There are also connotations in the text of the poster, with "The" godfather suggesting an unparalleled power, and a godfather which everyone knows about. The word "Godfather" itself has previous Mafia links and is reflected in the film, however it also suggests a link between the viewer and the Godfather, enticing the reader further. Finally, the font of the poster title seems expressionistic yet clean, again reflecting the contents of the film.
The tone of the poster, and in turn film, is a dark one. With the dominating colour being black there is a negative and sinister tone suggested through the colour scheme. There are also suggestions of conflict and blood through the blood red colour of the dominant figure in centre shot. There are also levels of formality which are implied through the poster, as previously mentioned the use of "The" instead of "A" or an alternate phrase suggests a familiarity and power which is unrivalled. Through the facial expression and positioning of the man in centre shot, we can also see that the poster takes a dejected, solemn tone which again is reflected in the colour scheme.
There are no intertextual references as such, however the "Paramount Pictures Presents" takes part of the viewers focus away from the poster and to the production company. This becomes more and more important in the two sequels of The Godfather as it links them to the previous films through title and production company.
The target audience of the poster is relatively obvious. The dark, sinister use of black and red with the film being an 18 itself closes the target audience off from the bottom end of the most typical film market (15-24) and opens the film up to more adults, suggesting a maturity about the film and connoting themes which only the elder generations can understand. It is also directed at a primarily male audience, with the person in the position of power in both the title and poster being a man. It also sells itself to a fan of good film, with a minimal poster suggesting the majority of the marketing to be done in hype around the film itself.
There are no obvious ideologies in the poster, simply due to the lack of character definition in the poster and the null colours. Through knowing the film, one can suggest that through the lack of vibrancy and emotion in the poster the gang/mob life is looked down upon as not always coming out on top, which is slightly emphasised through the facial expression of the man on the poster.
JL
Movie Poster Research - Sin City: A Dame To Kill For
Varying aspects of the poster for "Sin City; A Dame to Kill For" pose many questions as to the connotations of the film as a whole, as well as the poster. The lack of colour, not only typical of the previous instalment of Sin City, also draws contrast between the black and white figure of Mickey Rourke in centre shot. The contrast can suggest a variety things, some of which include good VS evil, old VS new and the abundance of the two opposites of the colour range suggests conflict. It is commonly perceived that an excess of white can be viewed as cold, harsh and isolating which is emphasised through the implied danger of the gun and remoteness of Mickey Rourke. Barely visible is a necklace holding a cross around his neck, which bears implications of religion, hope, and forgiveness even when juxtaposed with the dismal, apocalyptic feel of the black white and red poster, showing rain in the background and Rourke's menacing figure in the foreground.The anchorage of the poster, although minimal, has a great effect on the viewers understanding of the poster. With the sequels title, "A Dame to Kill For", it not only gives purpose to the isolated, strengthened looking character who dominates the poster but also suggests varying characteristics associated with him. Although portraying him as violent, it also suggests a passion, with both characteristics being highlighted through the use of red in the text alone. Without the text, one would imagine a comic of some sort set late into the 20th century, however with the text we realise not only is it set much later than imagined but it is also a film, Frank Millers attempt to out do his previously acclaimed film.
The tone of the film, portrayed through the poster, is obvious. With the comic book style of the cover combined with the knowledge that this is Frank Millers Sin City sequel, one can tell that the tone will be desolate, isolated and violent, possibly taking the same bleak and apocalyptic colour scheme of the first film in order to create a similar atmosphere. With the majority of interaction between humans being non-verbal, the image paints a vivid picture of what the audience is to expect from the film, with the baggy leather coat, low cut shirt and hefty shotgun slung over one arm painting a sinister and action filled picture. The register of the poster is also important, with the specific use of the word "Dame" instead of woman, girl, wife or any of the other options which could have been used. Being the female equivalent of a knighthood, a sense of importance is portrayed, which is reiterated through her being distinguished from other Dames as "To Die For".
There is one intertextual reference, with "Frank Miller's" being placed above the title, linking it to the previous Sin City Film. This has the effect of drawing in an audience which enjoyed the first film, which is a large proportion of action film fanatics due to it being considered one of the best action films of all time. The accompanying poster to the previously shown features Jessica Alba, boasting a high valued cast and implied sexuality on top of a previously standing legacy. This increases the target audience from action fans to fans of Mickey Rourke, Jessica Alba, and star studded line ups featuring both old and new stars. Appealing to mainly a young audience, the use of Rourke, Willis and Liotta also appeals to the elder, traditional action/adventure fans.
The poster displayed is very effective. Whether this is because I am the target audience, or because of the poster its self, it makes me intrigued to watch the film as not only a Sin City/Frank Miller fan but also an appreciator of good film. Maintaining the comic book style of the previous posters and expanding on them in the new film has kept the films previous reputation while inducing new audiences who would not have been previously interested.
JL
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