Remembrance of Films Past: Film Posters on Film
2009; Routledge; Volume: 29; Issue: 2 Linguagem: Inglês
10.1080/01439680902890662
ISSN1465-3451
Autores Tópico(s)Art History and Market Analysis
ResumoClick to increase image sizeClick to decrease image size Notes Notes 1. Pauline Kael, Kiss Kiss Bang Bang (New York, Bantam, 1969). 2. The poster that gave Pauline Kael the name of her breakthrough book apparently was from the 1966 film Bacia e spara (directed by Duccio Tessari), marketed in the United States as Kiss Kiss … Bang Bang. It was just one of so many progeny spawned around the world by the James Bond craze of that era. 3. Rodney F. Allen, Posters as historical documents, Social Studies 85(2) (1994), 52. http://web.ebscohost.com.lib.pepperdine.edu. Accessed 18 December 2008. 4. Gary D. Rhodes, The origin and development of the American moving picture poster, Film History 19(3) (2007), 228–246, at 228. http://proquest.umi.com.lib.pepperdine.edu. Accessed 21 December 2008. 5. Rhodes, 230–231. 6. Ibid., 240. 7. James Latham, Technology and ‘reel patriotism’ in American film advertising of the World War I era, Film & History: An Interdisciplinary Journal of Film and Television Studies 36(1) (2006), 36–43, at 36; http://proquest.umi.com.lib.pepperdine.edu. Accessed 18 December 2008. 8. Emma French, Selling Shakespeare to Hollywood: the marketing of filmed Shakespeare adaptations from 1989 into the new millennium (Hatfield, University of Hertfordshire Press, 2006), 26–27. 9. Richard Koszarski, Review of Painting in the Cinema: painted giant cinema posters, lithographs and models made by Greek artists in the years 1950–1975; Polish Film Poster. 100th Anniversary of the Cinema in Poland 1896–1996; Poster art from the golden age of Mexican cinema, Film History 10(2) (1998), 241–245, at 241. http://proquest.umi.com.lib.pepperdine.edu. Accessed 27 December 2008. 10. Rhodes, 230–231. 11. In a scene remarkably characteristic of the breast-obsessed attitudes toward sexuality and female anatomy in the 1950s, as Randall peers out from behind the standee of Mansfield's character, he does so from immediately behind her breasts. When he accidentally knocks the standee over on its face, it bounces back to an upright position. 12. While waiting for their target, Armendáriz says, ‘She has a lovely mouth, that Anita.’ In an example of both the sexualization of American advertising and the conflation of female sexuality (and particularly orality) and beauty with danger, when the man exits through Ekberg's ‘mouth,’ the Armendáriz character shoots him. ‘She should have kept her mouth shut,’ says Connery. 13. Later in the film, Antoine's troubled family goes to the movies to see Paris Belongs to Us (Paris nous appartient), a heavily ironic choice when one considers the plight of the economically and emotionally stressed family in the film. Even more significant is that Paris Belongs to Us, which was actually not released until after The 400 Blows was in theaters, was the first feature directed by Truffaut's former fellow critic Jacques Rivette, to whom Truffaut once attributed the success of the French New Wave. The cast of Paris Belongs to Us, furthermore, aside from featuring Jean-Claude Brialy, who would become an important actor in the French New Wave, also featured a host of up-and-coming French directors who would eventually become some of the most important directors in French cinema: Claude Chabrol, Jacques Demy, Jean-Luc Godard, and Rivette himself. Certainly the name of this film would not have been one recognized by the majority of the French or international viewing public. 14. François Truffaut, The Films in My Life (New York, Simon & Schuster, 1978), 268. 15. Also visible in this scene is the poster for the unlikely ‘Second hit,’ the obscure Man or Gun (1958, directed by Albert C. Gannaway), starring Macdonald Carey and filmed, according to the poster, in ‘Naturama.’ 16. Molinaro had a long career and would become particularly well known for directing the original versions of the two La Cage aux folles films. 17. Among the posters visible in scenes taking place in the lobby of the Rialto are those from Mon Oncle d’Amérique (1980, directed by Alain Resnais); Prisonnière des Martiens (a 1957 Japanese film directed by Ishiro Hônda and known as The Mysterians in the United States); Monsieur Fabre (1951, directed by Henri Diamant-Berger); and yet another poster for Gone with the Wind, this time the French version. The Rialto Theater closed in 2007. 18. The film whose title is not visible on this poster is in fact The Dark Side of the Moon (1990, directed by D. J. Webster). 19. Another, non-cinematic poster is used to good effect in The Purple Rose of Cairo. Several scenes are set in an old-fashioned (to the modern audience) amusement park, where a number of large posters for the real-life magician Carter the Great are pasted on a wall. The use of the posters is very effective because, tattered and peeling, they echo the tattered nature of the park, which is closed for the winter, and of the tattered life of Cecilia herself. 20. John Barnicoat, Posters: a concise history (N.p., Thames and Hudson, 1972), 218.
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