The Social and Political Influence of Graphic Design on Film and Cinema Posters

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APRIL 2022
3717 WORDS
MODULE: VEPT 21023
ALFIE MURRAY-SCOTT

This submission is the result of my
own work. All help and advice has
been acknowledged and primary and
secondary sources of information
have been properly attributed. Should
this statement prove to be ts Hand-
book.

Signed: Alfie Murray-Scott

Date: 29/04/2022

I’ve always found the detailed de- Figure 1.0 - Countess Shirvanskaya’s
signs of film posters intriguing, from Crime, Vladimir and Georgii Stenberg
the hand painted posters of the be-
ginning of cinema to the practically
identical posters of modern action
films that are printed en masse. You
know the ones, where each exceed-
ingly famous cast member has their
face stacked in a vague pyramid, all
of them lit differently to really show
off that they are busy people whose
schedules wouldn’t allow them in the
same room when they took the ac-
tion shots. I don’t blame them though,
in a modern world people have short
attention spans and graphic design-
ers would rather play it safe with de-
signs and stick to the tried-and-true
methods of advertising rather than
risk being more experimentive and
the design not being used by the com-
pany. Though this isn’t always due to
a change in audience retention, it is
often caused by changes in technol-
ogy (though the two may indeed be
linked), a theme that has come about
continually in history across all sub-
jects. In the interest of time (and not
boring you, the reader) this brings me
to the topic of this essay, which is the
exploration of the influence of Graph-
ic Design on film and cinema posters.

A great example would be a classic Figure 1.1 - Six Girls Seeking Shel-
film from 1926, Countess Shirvan- ter, Vladimir and Georgii Stenberg
skaya’s Crime (often called ‘The
Crime of Shirvanskaya’), a silent film
by the Russian film director Ivan Per-
estiani. Looking at the poster (Figure
1.0) it is clear to see the influence of
soviet constructivism on the design,
a style that was made very popular

in 1920’s Russia by Vladimir Tatlin. Figure 1.2 - Hunted People (Man-
The poster was designed by Vladimir hunt), Vladimir and Georgii Stenberg
Stenberg and Georgii Stenberg, who
were more commonly known as the
Stenberg Brothers, a Russian duo fa-
mous for their silent film poster de-
signs (Monoskop.org, 2020). The two
were influential designers with some
of their most notable designs be-
ing the posters of ‘Six Girls Seeking
Shelter’ (Figure 1.1) a film directed by
Hans Behrendt and ‘Hunted People’
(Figure 1.2) a film directed by Nunzio
Malasomma (MUBI, 2011). Each of
these posters share a common look
that was popular at the time (the pre-
viously mentioned constructivism)
which originally stemmed from com-
munist Russia and the Soviet Union,
who made the heavy use of black and
red, often associated with the design
movement, popular (Artsper Maga-
zine, 2019).

Much like the prior example I aim to
look at three more film posters in this
writing, ‘La Passion De Jeanne D’Arc’,
‘Vertigo’ and ‘The Green Knight’ and
further show the social, political and
potentially the environmental and
technological influence the time peri-
od had on their designs.

So this brings us onto our first film This counterpoint could debated by
and its poster. ‘La Passion De Jeanne the fact that Dreyer, according to Bar-
D’Arc’ is a French silent film from 1928 ret A. (2018), often explored themes
by the Danish director Carl Theodor of intolerance and the enduring strug-
Dreyer and perhaps his first widely gle of women living within a patriar-
known film (TV Tropes, n.d.). The film chal society, a point easily backup by
follows the story of the Warrior Saint his filmography that includes ‘Day of
Joan of Arc (played by Renée Jeanne Wrath’, ‘Die Gezeichneten’, ‘The Bride
Falconetti) in her trial by the English, of Glomdal’ and ‘Gertrud’ which are all
after her capture during the siege of films that feature a female lead in op-
Compiègne, as they attempt dissuade position of male or masuline oppres-
her acclaimed visions of the Archan- sors (White, 2001 and Ritcher Larsen,
gel Michael as the work of the devil 2010).
(History.com Editors, 2009).
René Péron, is a french illustrator and
The film’s poster (Figure 2.0) reflects poster designer in the early 1900’s,
the story perfectly with Joan of Arc as well as the designer of the film’s
standing alone in a ray of holy light, poster (Grafix, 2018). Research has
surrounded by the faces of her per- proven a lack of knowledge and re-
secutors, men of the law and of god sources available on Péron himself.
as in the 1400’s (when the film is set) His work however is somewhat well
religion and law usually went hand documented, with Péron having pro-
in hand. ‘Men’ of the law was literally duced a number of posters for well
the case as well as women were not known films of the time period such
allowed into seats of judicial power as; ‘King Kong 1933’, ‘Jour de fête
at the time period, and it could be ar- 1947’, and ‘Spartacus 1960’. Péron’s
gued that the introduction of wom- poster designs often feature an oil
en’s rights and equality in France dur- paint-like style with elements of the
ing the late 1800’s (and early 1900’s) Art Nouveau and Constructivism, a
that gave rise to a film such as this movement which was just starting
being created, with the poster proud- to come into fashion around parts of
ly displaying the powerful female pro- Europe, however the artistic combi-
tagonist against the more authorita- nation of the two is possibly the true
tive and antagonistic male characters inspiration for Péron’s designs. Péron
(Chastain, 2004 and British literature uses elements of the Art Deco de-
wiki, n.d.). However, this may not be sign movement in his designs due to
the case, especially as Carl Theodor its increasing popularity in France.
Dreyer was a fan of creating religious This can be seen in Péron’s design for
and drama filled films, such as ‘Day of ‘King Kong’ (Figure 2.4), which when
Wrath’ and ‘Leaves from Satan’s Book’, contrasted with Adolphe Cassandre’s
of which ‘La Passion De Jeanne D’Arc’ classic Art Deco poster, the ‘Nord Ex-
perfectly embodies (Barrett, 2018)). press’ (Figure 2.5) is very clear to see.

Both posters clearly display a similar Join Your Country’s Army!’ poster by
bold sans serif font in a striking red Alfred Leete (Figure 2.7). This poster
colour to draw the viewer’s eye, they features Lord Horatio Herbert Kitch-
both also use the colour blue in har- ener, perhaps the most famous Field
mony with an off-white/cream colour General in England’s history and sym-
to make a traditional French flag-like bol of victory to Allied forces, who is
colour scheme. Additionally, both pointing towards the viewer (Gaur,
Péron’s and Cassandre’s posters use 1998). This act of pointing shows
a simple and more geometrical shape Kitchener as a symbol of authority
based painterly style synonymous and makes the poster more personal,
with oil paintings of the time (Figure a tactic which has been used widely
2.2 and Figure 2.3). This is also dis- in advertising around the globe since
played in ‘Vins Camp Romain’ (Figure (Kitchener: The most famous pointing
2.6) a poster by 1900’s poster de- finger, 2014). It could be argued that
signer Claude Gadoud, that follows a the geographic proximity of France
similar colour scheme and painting to England, as well as the political al-
style. Both of Péron’s posters for ‘La liance the two had in World War 1,
Passion De Jeanne D’Arc’ continues meant that many cultural and artis-
these elements of French Art Deco tic premises were shared by the two
more successfully compared to the countries in the early 1900’s.
‘Nord Express’, using bold sans serif
typography and simplified geometric
shapes but with a better use of graph-
ic design conventions such as; fram-
ing of the subject within the areas of
light, and with the composition, show-
ing the fibonacci spiral that follows
the eyes of the stories characters.

Péron’s poster designs frequently in-
clude the use of pointing, shown in
World War 1 posters, to show a pow-
erful figure within the story. This is
plain to see in the second poster of
‘La Passion De Jeanne D’Arc’ (Figure
2.1), in the poster for ‘Napoleon Bon-
aparte’ (Figure 2.3) and in the poster
for ‘Jour De Colère’ (Figure 2.2). This
may have come from posters de-
signed ten years before the creation
of the poster for ‘La Passion De Jeanne
D’Arc’, such as the famous ‘Britons.

Figure 2.0 - La Passion De Jeanne D’Arc, René Péron, 1928
Figure 2.1 - La Passion De Jeanne D’Arc, René Péron, 1928

Figure 2.2 - Jour de colère, René Péron, 1943
Figure 2.3 - Napoleon Bonaparte, René Péron, 1927

Figure 2.4 - King Kong, René Péron, 1933

Figure 2.5 - Nord Express, Adolphe Mouron Cassandre, 1927

Figure 2.6 - Vins Camp Romain, Claude Gadoud

Figure 2.7 - Britons. Join Your Country’s Army!, Alfred Leete, 1914

Our second film, ‘Vertigo’ is a psycho- ing heights represented by the spi-
logical thriller from the golden age ral, a parallel also made by Parmelee
of cinema and was directed by Al- (2009). The typography of the design,
fred Hitchcock, often even regarded however, has been impacted by the
as one of his best films (Pfeiffer and rise of the Golden Age of cinema in the
Albert, 2010). The film follows the previous years. With the rise of colour
protagonist John ‘Scottie’ Ferguson film in the mid 30’s and 40’s, cinema
(played by James Stewart), a retired as an industry grew massively with
San Francisco police detective who actors becoming known as recognis-
suffers from Acrophobia, an intense able celebrities, such as; James Stew-
fear of heights. He is asked by an old art, Dean Martin, Judy Garland, James
friend, Gavin Elster (Tom Helmore), to Dean, Audrey Hepburn and Marilyn
tail his wife, Madeleine (Kim Novak), Monroe (Ruano, 2011). This meant
as she leaves the house for hours at that the actors who starred in the film
a time and seemingly drives over 90 were just as big of a selling point as
miles in her car (Ebert, 1996). the director, and film posters, such as
Bass’s design for ‘Vertigo’, started to
Saul Bass, who designed the poster show the stars’ names more promi-
for ‘Vertigo’, was an American graph- nently in the hierarchy of their design.
ic designer very well known for his The names of the two main stars,
poster and logo designs throughout higher up on the poster with the text
the later half of the 1900’s (Bauerr, almost as large as the title, effectively
2022). The film’s poster (Figure 3.0) using the design principles of position
reflects the themes of the film, with and size. This is also evident in Bass’s
the central spiral visually mimicking poster design for ‘Love in the After-
the dizzying camera movements of noon’ (Figure 3.1) where the actors
Scottie’s Acrophobia and even poten- names are brightly contrasted against
tially representing Scottie’s descent a black background and are higher on
into madness throughout the film as the page, whilst the director and the
he struggles to piece together the film title are simply after thoughts. Al-
mystery whilst simultaneously fall- though these are effective the names
ing in love with her (Elephant, 2021). of the star actors could have been a
The centre of the spiral shows the lesser focus on the design if they had
two main characters, Scottie and Ma- used other methods to advertise that
deleine, in a position that could be in- aspect of the film, such as TV adver-
terpreted one of two ways; the first is tising, as they had started being intro-
them dancing, representing their love duced into hundreds of thousands of
for each other within the madness of homes by the late 1940’s (Stephens,
the situation. The other interpreta- 2020).
tion is the two of them splayed out,
as if having fallen (physically, psycho-
logically and/or socially) from dizzy-

Figure 3.0 - Vertigo, Saul Bass, 1958

Figure 2.7 - Britons. Join Your Country’s Army!, Alfred Leete, 1914

The introduction of the Swiss and style (Arms, 2021).
international style in America influ-
enced the designs of Saul Bass’s film Looking at ‘Psycho’, another film di-
posters. Evident in the design of Armin rected by Alfred Hitchcock, you can
Hofmann’s ‘Alte und neue Formen in see that the poster is vastly differ-
Japan’ (Figure 3.2) and ‘Barbour Vin- ent from the one designed by Saul
tage’ (Figure 3.3), by an Unidentifiable Bass and a lot more like other movies
designer, Bass’s work also uses black from the time. Designed by Tony Pal-
or white sans serif font contrasted ladino, the poster for ‘Psycho’ (Figure
against a single, usually warm, col- 3.4) shows a photograph of one of
our. Additionally there is very little the main characters, Marion Crane
colour variation, usually sticking to (played Janet Leigh), barely dressed
a monochromatic or Analogous col- and clearly displayed as the main fo-
our scheme and in most cases illus- cus of the poster (Brower, 2014). The
trations are simple with little detail perpetuated sexist views of women in
(Keung, 2021). Bass’s style doesn’t society influenced the designs of film
perfectly match the Swiss style but posters in the Golden Age of Cinema.
takes important elements and mixes This shown in the film poster designs
the styles he learned, Constructivism of ‘Creature from the Black Lagoon’
and the Bauhaus, to create a unique (Figure 3.5) by Drew Struzan and ‘At-
style that can truly capture a film in tack of the 50ft Woman’ (Figure 3.6)
a single image (Horak, 2014). Swiss by Reynold Brown as well, as they
style, as the name suggests, origi- both show a similar image of a young
nated in Switzerland but was made and attractive woman in a revealing
popular in the United States by Ernst outfit. According to Olsson (2018) the
Keller, a man widely considered as mixed gender roles from World War
the father of Swiss style’s success, 2, such as woman going to work in
and having moved across the world place of the men, meant that adver-
and become popular in many places tising shifted from woman having tra-
the style often became known as the ditional roles to their objectification,
International style (Bigman, 2016). as in his words “sex sells and so do
Bigman (2016) goes on to state that women’s bodies”. However, this may
the International style would become not entirely be the case as despite
especially popular in the infrastruc- the rising use of technology and the
ture of American cities, such as New massive increase in film production
York, where it would be used in sub- throughout the 1900’s, posters were
ways and street signs or in the logos still the main form of advertisement
and designs of businesses. With Bass for most media and each production
growing up in New York during the in- had to fight for their audience. As men
troduction of the International style in were still often the ones who worked,
the early 1900’s, it makes sense that and therefore were in charge of the
it would heavily influence his design money so to speak, this often meant

designing posters with men in mind
(Maria, 2016). Regardless of your be-
lief, it’s safe to say that sexist notions
of women were still present in the
Golden Age of Cinema, with it notably
present in the film ‘Vertigo’ as Scottie
often appears creepy or forceful to
Madeleine in retrospect. This problem
could have potentially been solved by
involving new methods of advertising
or increasing the amount of women in
design process or the designer roles
themselves.

Figure 3.3 - Barbour Vintage, Unknown

Figure 3.2 - Alte und neue Formen in Ja-
pan, Armin Hofmann

Figure 3.4 - Psycho, Tony Palladino

Figure 3.5 - Creature from the Black Lagoon, Drew Struzan

Figure 3.6 - Attack of the 50ft Woman, Reynold Brown

‘The Green Knight’, our third film post- tire film. It is Gawain’s story and yel-
er, is a contemporary film from 2021 low and a colour represents royalty,
and was directed by the American as Gawain is the nephew of the king,
filmmaker David Lowery. Based on but it also represents cowardice, a
the poem ‘Sir Gawain and the Green heavy theme throughout the film as
Knight’ by Gawain Poet, it follows the Gawain is afraid of what the Green
journey of Sir Gawain (played by Dev Knight symbolises (Ivey, 2022). Weg-
Patel) in his attempt to gain honour man and Said (2011) mention that red
and prove himself in the eyes of the is the colour of love, the colour of dan-
people and in the eyes of his uncle, Ar- ger and adventure, the colour blood,
thur Pendragon (Sean Harris). During all of which things Gawain is afraid
a Christmas feast the Green Knight of on his journey but must face any-
(Ralph Ineson) arrives to declare a way. The film and poster of ‘The Green
challenge to any of the knights and Knight’ are inspired by humanity’s dis-
Gawain jumps to the challenge not ful- regard for earth in the modern day.
ly knowing what it entails (a24films. The Green Knight is a very symbolic
com, 2021). film and like with the other colours
the choice of green for the knight is
Despite extensive research, no infor- very intentional, symbolising nature,
mation is available on who specifically earth, time and the cycle of life and
designed the posters (Figure 4.0, Fig- death. Ivey (2022) says that the Green
ure 4.1 and Figure 4.2), though a good Knight calmly walks into Camelot as
approximation is that they were de- he knows that everything will one day
signed by a, sadly, uncredited studio or be his, as in one day the castle will fall
in-house designer. All three of the of- into ruin and only nature will be left. In
ficial posters show Gawain in a valiant ‘The Green Knight’ (2021) ‘The Lady’
or dramatic pose, standing against (Alicia Vikander) says the line; “When
a vibrant blood red background with you go your footprints will fill with
motifs of bright yellow in the text or grass. Moss shall cover your tomb-
gold in the halo-like crown he wears. stone and as the sun rises, green shall
These colour choices reflect the story spread over all. In all its shades and
far better than you would think, with hues. This Verdigris will overtake your
the film’s name ‘The Green Knight’ swords and your coins and your bat-
you wouldn’t expect the film to have tlements, and try as you might, all you
a heavy use of red and yellow, colours hold dear will succumb to it. Your skin,
on the complete opposite side of the your bones, your virtue.” a sentence
colour wheel. This is because the sto- that further reinforces the very real
ry isn’t really about the green knight, message, that when our lack of care
in fact he only shows up briefly in the for the earth dooms our species the
film at the very start and at the very grass will return but we will not. ‘The
end, orange is the colour of Gawain’s Green Knight’ depicts a nature that
shawl that wears throughout the en- will live long past humanity.

Figure 4.0 - The Green Knight, Unknown, 2021

Figure 4.1 - The Green Knight, Unknown, 2021

Figure 4.2 - The Green Knight, Unknown, 2021

With the increased social conscious- Knight’s are more increasingly be-
ness of younger generations in the coming a digital format. Though most-
twenty-first century, contemporary ly sustainable in materials, the con-
film’s posters such as ‘The Green stant use of paper and ink in posters

over the past couple hundred years is posters were made in 1925 and 1927,
rife with inconvenience for advertis- respectively, to advertise the singing
ers and the planet alike. Krizanovich and dancing group La Revue Negre,
(2021) states that the use of digital and their star actor ‘Josephine Bak-
posters for distribution is vastly bet- er’. Due to the time period the design-
ter for the environment, cutting out er and the audience had little regard
the carbon emissions used in their for cultural representation, depict-
transport, which ultimately reduc- ing the mostly black members of the
es the craft’s contribution to climate group with almost cartoonishly dark
change and avoids the challenging skin and overly large red lips, creat-
logistics of getting the posters across ing an ape-like caricature for people
borders and onto planes. Krizanovich of colour (A history of black cinema
also argues that physical posters are in film posters, 2014). This also con-
unnecessary in a modern day as most tinued through the Golden Age with
people book their tickets for a film film posters like the one for ‘Cabin in
online, from the comfort of home, so the Sky’ (Figure 4.5) by Al Hirschfeld,
that’s a more effective place to ad- which suffers from the same racist
vertise them. It could be argued that and culturally ignorant representa-
the unsustainable fossil fuels used in tion (Isabel, 2020). Although film
the generation of the electricity that posters in modern times occasionally
power digital poster screens is overall have missteps, most designers have
worse for the environment, however the foresight and the ability to com-
data is inconclusive. This issue of sus- municate with the culture and people
tainability could be fixed by having the they are representing in the design,
poster designs distributed around the with a great example of this being the
world digitally and then printed local- film ‘Moana’ (Figure 4.6) directed by
ly, to cut the cost of greenhouse gas- Ron Clements and John Musker. The
es to the atmosphere whilst still using film and poster, in both story and de-
print as a medium, alternatively the sign, go out of their way to properly
use of digital poster screens could be represent the Polynesian people and
limited, only having them active dur- in the words of Potier (2020) “Clem-
ing peak hours of audience activity. ents and Musker travelled to Fiji, Ta-
The use of the internet and com- hiti and Samoa, and recruited experts
puters in designing allows for more from across the South Pacific to the
culturally sensitive film and cinema Oceanic Story Trust to consult on
poster designs. In the past posters the film’s cultural accuracy and rep-
made to advertise media have poor- resentation. Anthropologists, histori-
ly represented other cultures to their ans, cultural practitioners, linguists,
audience, with a great example of this tattoo artists, elders, fishermen, and
being the posters for ‘La Revue Negre’ others were assembled to advise on
(Figure 4.3) and ‘Bal Negre’ (Figure the film’s most minute details”. This
4.4), designed by Paul Colin. These recruitment of experts was only pos-

sible due to the social connections
computers and the internet give us.

Figure 4.3 - La Revue Negre, Paul Colin Figure4.5-CabinintheSky,AlHirschfeld

Figure 4.4 - Bal Negre, Paul Colin Figure 4.3 - La Revue Negre, Paul Colin

In conclusion, it’s clear to see that
many events (social, political, en-
vironmental and technological)
throughout history have influenced
the films and their advertisements re-
gardless of the time period through-
out history, whether it’s in the age of
Silent film, the Golden Age of cinema
or Contemporary film. These periods
of time have shown the influence de-
sign movements have on designers as
well as the impact on graphic design
of ingrained sexism in western coun-
tries. I’ve also looked at the impact
the World Wars have had on society
and how that has had an effect on ad-
vertising and design of films, and in a
similar vein how climate change and
the growing eco-consciousness of
audiences has changed posters as ad-
vertisements. Finally I looked at how
different people and cultures have
been represented in film and enter-
tainment by the print medium, wheth-
er successfully or not. All these topics
bring new meaning to the designing
of posters as life doesn’t just seem to
imitate art, art also imitates life as the
world, and its events, change the art
and designs we produce. Something
we can theoretically use to create art
we want, with the right catered expe-
riences and something we can pro-
duce by making the world a better (or
at least different) place.

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