the movie poster

7/25/2019 The Movie Poster

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THE MOVIE POSTER


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Although considered a relatively newmedium to most, the movie industryhas been in existence for over 100

years. It has not only survived butprospered through a century of almostinsurmountable obstacles and

adversities.

MOVIE POSTER HISTORY


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Today, movies are a billion dollarindustry. The movie poster, in all of its

sizes and forms, has been the

backbone on which this industry wasbuilt. Movies and their posters havegrown side-by-side since the late1800's.



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During the late 1!!"s,many inventors

e#perimented with

devices that wouldmake pictures appear to

move. The $elgian

scientist, %oseph&lateur, invented the

phenakistoscope in

1'(.


Joseph Plateur


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This device consisted of two disks a fewinches apart on a rod. Plateau placedpainted pictures of a person or thing on

the edge of one of the disks eachpicture being slightly advanced!Theother disk had slots, so when both disks

were rotated at the same speed, thepictures appeared to move as they came

into the view of the slots.



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)ntertainment advertisement



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"istory of the Movie Poster

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*rom the very beginning movie posterswere a part of commerce, designed to get

patrons to the bo# office.

In 1+! a *renchman named %ules heretis credited with producing the very first

movie poster, a lithograph designed to

promote a short film entitled -&roectionsArtisti/ues0.



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"istory of the Movie Poster *ive years later, a movie poster for the umiere

$rothers2 -Arrival of a Train0 in 1+3 was the first

to depict an actual scene from the film.

THE MOVIE POSTER


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4owever, up until the early 1+1!s, themaority of early film posters were nothingmore than simple -broadside0 style signs

with little more than block te#t.



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A typical poster for an early)dison film contained little

more than the movie2s title

and the words -Another

)dison &hotoplay0.


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5p to this point in film history, there were no6movie stars.6 7ost of the actors in the early

films choose to remain anony%ous. It was

to the benefit of all involved with early filmsto keep their movie"s participants unknown. Legitimate stage actors preferred to remain

unknown, embarrassed that anyone would find out

that they participated in this new medium. 7ovie producers were secure in knowing that they could

control the medium as long as the movie participants

remained unnamed.



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$y the year 1+1!, however, things began to change.As early as 1+!, studios began receiving mail

addressed to nameless actors.

Movie producers fearing that giving the identity of

the stars would cause the% to de%and %ore%oney continued to insist on anony%ity!

$ut the studios were soon faced with the reality that

%ovie goers wanted to know the na%es of theactors and actresses.

This would become /uite evident thanks to the stunt

perpetrated on the industry by arl aemmle, owner of

I7& studio.



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he first Publicity (tunt7r. aemmle managed to steal one *lorence awrence from a rival

movie studio. To this point, 7s. awrence was known to her fansas the)*iograph +irl,! In what could be considered one of thefirst publicity stunts pulled off by a movie studio, a rumor wasstarted, purportedly by 7r aemmle himself, that the adored)*iograph +irl) was dead!

In order to set the record straight, 7r. aemmle published a full pagead in a 8t. ouis newspaper stating that he had 6nailed a lie6 andwould be presenting 7s. awrence in 8t. ouis. 9hen morepeople showed up to see 7s. awrence than had come to seethen &resident Taftwho had the highest approval rating in .("istory/who was visiting 8t. ouis one week earlier, the studioowners had to ac/uiesce, and no longer would %ovie actors

and actresses be kept anony%ous.



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t was at this point that producersrecogni2ed that the real selling toolswere not the %ovies but the )stars)that

graced their screens. 8uddenly, posters hadto be designed with consideration given to

the stars and their 6pecking order.6



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&osters now had to reflect the size and status ofthe -leading lady) and)leading %an3!8oon thepublic could recognize one"s 6star status6 simply bylooking at a movie poster.

The size of the print and the placement were easyindicators as to ust how 6big6 a particular star was.

Movie contracts would now include clausesrelating to the si2e and place%ent of na%es on

the %ovie poster and other advertising%aterials!

4ctors and actresses had now beco%e powersto be reckoned with!



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5a%e

5a%e


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The early 1+(!"s were considered the golden age ofthe silent movie. +rand %ovie palaces soonreplaced the %ovie theatre, and the crude postersof old gave way to more splendid, artistically

aesthetic movie posters. 9ell known commercial artists were commissioned

by many studios to design movie poster 6portraits6

of leading stars.

5nfortunately, the 4%erican studios did not allowthe artists to sign their posters, as commercialartists were allowed to do on )uropean movie

posters.



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These new posters no longer depictedscenes :: the posters were designed withportraits of the stars the %ovie title and

the stars' na%es. There was an occasional slogan or two, but

the emphasis was now placed on the

movie"s 6stars.6 7ost of the studios had their advertising

offices in ;ew


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It was during this time, =actually started in1+1+> that the 5ational (creen (ervice=6;886> first made its appearance. ;88

began competing with the studios" lucrativebusiness of creating and distributing

6trailers.6

railers were the fil% clips of co%ingattractions that would be shown after afeature presentation - thus the ter%)trailer!)



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546547 (9::5 (:9;: ;e#t to movie studios, the 5ational (creen

(ervice )5(()had the most direct and

profound impact on the movie paperadvertising industry.

= until the %id-1=80?s, the ;88

was the 6control center6 for almost +!? ofthe movie paper distributed.



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$y the 1+(!"s, a new printing process wasdeveloped. @nown as photogelatin orheliotype,this new process was used primary on smaller sizedcard stock items, such as lobby cards, inserts and

window cards. )volving from one color to three =YELLOW,PIN

and!L"E>, this process was used for materialsmeant to be viewed closely.

These items were not as effective when viewedfrom a distance.

ne:sheets and larger paper continued to beprinted via stone =and later aluminum plate>

lithography.



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$y the 1+3!"s, the 6fan magazines6 alsomade its appearance during this time

period.

Photoplay andMovie Mirror were two of thepioneers in this area, and their magazines

were replete with color photographs of all

maor movie stars.



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7ovie companies adopted this style ofadvertising, and soon %ovie postersbegan to look %ore like colorphotographs, using tinted photographsand large stock lettering.

9ith the number of cars on the roads,posters were designed to be seen from long

distances.



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In the B!2s, movies posters progressed, theposters began to reflect the changing

attitudes toward violence and se#.

The use of photographs were replacing thepainted artwork common in the early years.



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The movies posters of the 1+C!"s continued theuse of photography. Drawing and painting styles

were still being used occasionally, and artists like

Richard Amsel, Frank Frazettaand Bob Peaklent

their names to some of the more popular filmposters of this era.

7ovie posters were now being printed on a clay:coated paper which gave them a glossy finish

smooth to the touch.



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Examples of howKEY ART

Is used in movie marketing

http://www.impawards.com/2005/cd.html
http://www.impawards.com/2005/cd.htmlhttp://www.impawards.com/2005/cd.html


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Erew (tru2an



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$y the 1=80's the 5ational (creen(ervice lost its control over the %oviepaper industry, leaving only three regionaloffices remaining in operation.

This fact, along with the advent of the multi:screen comple#es, the lineup of advertisingmaterials available to theatres changeddrastically.



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&rior to this time, most theatres had ust one&rior to this time, most theatres had ust onescreen and one feature movie. 7ore advertisingscreen and one feature movie. 7ore advertising

space was dedicated to each movie, with theatrespace was dedicated to each movie, with theatre

lobbies covered with various sizes of posters forlobbies covered with various sizes of posters for

one movie.one movie.



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9ith more screens and more movies, the advertising9ith more screens and more movies, the advertisingspace in the theatre lobby now had to be dividedspace in the theatre lobby now had to be divided

e/ually among all films being shown. As ae/ually among all films being shown. As a

conse/uence, movie studios opted to phase out ofconse/uence, movie studios opted to phase out of

some of these 6old standards6 and introduced a moresome of these 6old standards6 and introduced a moreversatileversatile ))%ini sheet%ini sheet))which could be produced in anywhich could be produced in any

smaller size.smaller size.

ThisThis )%ini) sheet)%ini) sheetcould take the place of any of thecould take the place of any of thesmaller sizes, since there is no standard size.smaller sizes, since there is no standard size. ts Fustts Fust

s%aller than BC x A0s%aller than BC x A0//



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The)%ini) sheet



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The video rental market, which begangaining popularity during the 1+3, hasgiven movie producers another avenue forincreasing profits.

;o longer do movie studios have to rely ontheatre bo# office receipts to make money.ideo rental income now figures heavily in

weighing the success or failure of a film.



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8ince video rentals also rely on advertising,8ince video rentals also rely on advertising,a new line of video materials werea new line of video materials were

introduced. ideo posters, which appear tointroduced. ideo posters, which appear to

be similar to the theatre one sheets, arebe similar to the theatre one sheets, aredistributed to video rental outlets for display.distributed to video rental outlets for display.

7any studios issue a number of materials7any studios issue a number of materialsstrictly for their video market, making it astrictly for their video market, making it a

viable profit alternative for movie studios.viable profit alternative for movie studios.



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The rise of the video resulted in thedemise of reissues$re-releases.

Instead of re:releasing a film to the

theatres, movie studios simply released

them on video cassette.



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EeissuesFEe:releases.



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7any of today"s studios have optedto use the 6mini6 sheet. 8ince themini sheet is not a standard size, it

can be used to replace many of theold favorites, like inserts halfsheets hori2ontal posterwindow cards!


O OS S O


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nserts




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(tand-ees %obiles and counter displaysare also very popular. ideo advertisingmaterials are also still widely used. Inaddition, posters %ade for cable ; andnetwork television movies have also beenintroduced.




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A standeeis any type of display thatbasically "stands on its own or is able to be

displayed with little or no outside support.

A standee can range from a small counter

top standing display to a larger than life

lobby size display, and anything in between




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Standees


THE MOVIE POSTER


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he Movie Poster %odern raditional (i2e#

(C#G! =G1> double print size

*ull 8ail size (G#'B

Poster ypes#P9:-9:7:4(:# 5sually has general release date

=not e#act unless a holiday specific>

9:7:4(:# Theatrical Distribution9:-9:7:4(:#After Awards or Ee:released;E:6# DDFideo. =5sually different key art and

date>

THE MOVIE POSTER

THE MOVIE POSTER


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9elease#Gey 4rt

THE MOVIE POSTER

THE MOVIE POSTER


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9elease# alent

Key Crew Industry: ExP, Producer, Writer, Composer, Editor,

Director, and sometimes DP

Full Sail: Director(s), Writer, P!"PC, DP"#a$er,PD"%D, &st%D"'nd%D, and Castin Director

alinealine

We*paeWe*pae

+atin (!P%%) wwwmpaaor +elease Date

(pecialty te%s "H >-E etc (ynergy *ook (oundtrack etc

THE MOVIE POSTER

THE MOVIE POSTER
http://www.mpaa.org/http://www.mpaa.org/


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9e-9elease

THE MOVIE POSTER

THE MOVIE POSTER


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E;E I ;ideo

THE MOVIE POSTER


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The Full Sail Movie Poster

FULL SAIL MOVIE POSTER


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reation of the Poster##tep $%

Ho over the script with the students

at a Production &eeting8.




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reation of the Poster##tep '%

Discuss the key idea and a few

scenes that depict the -essence0 of

the film.

Develop a few conceptual designs on

the look of the poster.




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reation of the Poster##tep (%

If the 6essence6 of the story can be

captured in one of the stills on the

set, then go over which title te#t style

would enhance the mood of theimage.




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reation of the Poster##tep )%

If this 6essence6 of the story can be

captured in one of the stills on the

set

&lan which day of production to shoot

the key art.




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reation of the Poster##tep *%

If the -key art0, that will become the

poster needs to be shot in a studio

setting, go over what kind of lighting,

make:up, talent, and art departmentwill be needed for a studio photo

shoot.




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reation of the Poster##tep +%

&ick a range of dates for the photo

shoot.

oordinate the best date with the

talent, needed gear andFor location.




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the movie poster

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