Edited by Bettina Richter. Text by Christina Thomson, Anna Berkenbusch, Jianping He, Vasilis Marmatakis, Giselle Monzón Calero.
Defying the emblematic Hollywood style, these experimental film posters shaped both graphic design and film marketing
In the history of design, the film poster has repeatedly exemplified graphic innovation. Consequently, this 36th volume of Poster Collection spotlights movie posters that defied the Hollywood conventions of canonical motifs and pompous spectacle. The unorthodox visual language of these "other" film posters largely dispenses with star portraits and film stills, favoring a more subtle and poetic visual language that consolidates content into symbols. This avant-garde approach to movie advertisements has existed for as long as there have been moving pictures to promote. Ciné-Passion includes such striking examples as the Stenberg brothers’ Constructivist posters; the radical, succinct work of Jan Tschichold; the Polish school of poster art, with exponents such as Henryk Tomaszewski and Roman Cieslewicz; and Cuban designs by Antonio Reboiro and Ńiko.
STATUS: Forthcoming | 2/4/2025
This title is not yet published in the U.S. To pre-order or receive notice when the book is available, please email orders @ artbook.com
FORMAT: Pbk, 6.5 x 9.5 in. / 96 pgs / 131 color / 19 b&w. LIST PRICE: U.S. $28.00 LIST PRICE: CANADA $42 ISBN: 9783037787663 PUBLISHER: Lars Müller Publishers AVAILABLE: 2/4/2025 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Forthcoming AVAILABILITY: Awaiting stock TERRITORY: NA LA
Published by Lars Müller Publishers. Edited by Bettina Richter. Text by Christina Thomson, Anna Berkenbusch, Jianping He, Vasilis Marmatakis, Giselle Monzón Calero.
Defying the emblematic Hollywood style, these experimental film posters shaped both graphic design and film marketing
In the history of design, the film poster has repeatedly exemplified graphic innovation. Consequently, this 36th volume of Poster Collection spotlights movie posters that defied the Hollywood conventions of canonical motifs and pompous spectacle. The unorthodox visual language of these "other" film posters largely dispenses with star portraits and film stills, favoring a more subtle and poetic visual language that consolidates content into symbols. This avant-garde approach to movie advertisements has existed for as long as there have been moving pictures to promote. Ciné-Passion includes such striking examples as the Stenberg brothers’ Constructivist posters; the radical, succinct work of Jan Tschichold; the Polish school of poster art, with exponents such as Henryk Tomaszewski and Roman Cieslewicz; and Cuban designs by Antonio Reboiro and Ńiko.
