Anatomy of a Horror Poster

everyt ANATOMY, OF A HORROR POSTER EVEN THE SIMPLEST MOVIE POSTER IS A COMPLEX ASSEMBLY OF SYMBOLISM THAT CONTRIVES TO TEMPT FILM-COERS OFF THE STREET AND INTO THE THEATRE. ITS ART - AND IT'S ALSO MARKETING. USING THE SOPHISTICATED LANGUAGE OF FILM TO COMMUNICATE CENRE AND THEME TO A RECEPTIVE AUDIENCE. HERES AN ABSOLUTE CLASSIC. DISSECTED AND LABELLED FOR YOUR VIEWING PLEASURE. NO FAST FORWARDING! GATES AND FENCES, LOOKING PRETTY HARMLESS ... Are they cemetery gates, garden gates or the gates of Hell? Are they intended to keep people out - or something in? That they are in silhouette is sinister; that they are open might mean something has escaped, or an attempt is being made to lure us inside. Working in tandem with the light sources, these are also a nifty little device illustrating a boundary and a decision to cross it. FUN FACT 1: THE ICONIC SHOT AND VHS COVER DESIGN OF THIS FILM WAS INSPIRED BY THE 1954 PAINTING EMPIRE OF LIGHT" (LEMPIRE DES LUMI RES") BY RENÉ MACRITTE. OH NO, NOT A STREET LAMP! It's what we don't see that makes a good horror film all the more frightening; light reveals and conceals in its absence. This street lamp glows wanly, a sentinel guarding a boundary between the known and unknown, suggesting a glimmer of hope in the dark, perhaps even inspiration or strength from on-high. It also anchors the environment - a modern piece of street furniture in safe suburbia. FUN FACT 2: THIS IS WARNER BROTHERS HIGHEST CROSSING FILM OF ALL TIME WHEN ADJUSTED FOR INFLATION BEWARE, A SPOOKY SILHOVETTE ... carrying an innocuous-looking briefcase! The only figure in the frame is captured at the threshold between the divine light of the street lamp and the beam from the window. His head is tilted as he glances up, though we can't see his face: he's an enigma, shielded by his hat and cloaked by his non-descript overcoat. His style of dress is another clue to the time in which the story takes place, and casts this mysterious figure as rather ordinary. FUN FACT 3: : THE AILM RECEIVED 10 OSCAR NOMINATIONS AND WAS THE FIRST HORROR MOVIE TO BE NOMINATED FOR THE ACADEMY AWARD FOR BEST PICTURE. THE FRAMELESS WINDOW From the tilt of his hat we know the hero's destination is the room behind that window which, unlike its neighbours, has no frame. In some early posters it casts a sickly light: our hero has been seen and must face the consequences - is he up to the challenge? In some colour versions a third source of light from the downstairs is a purer white, while the windows of neighbouring properties are unlit, unaware observers. THE TITLE THE EXORCIST A strong, bold font with a subtle serif detail that differentiates it from the supportive text on some posters. In colour psychology, purple indicates wisdom and spirituality – very apt! Different versions of the poster used a tagline to drive home the sales message: "Something almost beyond comprehension is happening to a girl on this street, in this house ... and a man has been sent for as a last resort. This man is the Exorcist." THE POSTER THE EXORCIST The whole effect is sinister, mysterious and challenging. The viewer is positioned to look slightly down on the hero, from the shadows; do we dare accompany him? The framing and composition, colour palette, font and elements create a wealth of meaning and interest. Since the rise of home entertainment, movie key art must work on all screen sizes, as banner adverts and on e-commerce pages, flyers, DVD/Blu-ray amorays, on disc, and merchandise too. Great examples like this - uncluttered and iconic - do translate across deliverables, and stand the test of time. everyt www.helloevery1.com