poster analysis

1. Basic analysis
Colour- bold yellow, eye grabbing,
a warm 'sunny' colour
suggests the film takes place
somewhere hot but more-so it
reflects the sun setting on the end
of the old era- a way of life. it’s a
colour that’s commonly used (like
red and amber) to indicate
caution alluding to a bumpy road
ahead for our 'easy rider’
The faint grey more so symbolizes
the entry into madness chaos, and
egoism suggesting once more an
ill-fated journey ahead.
Billing block- the billing block
features an array of cast/
producers even the company
behind the release in a order going
from large to small in scale. Their
USP is their actors- whom are just
starting out, this will be the film to
get their names out there.
Text/ font- the font is slightly
slanted suggesting a warped
slightly on edge experience on
the way
Tagline- 'a man went looking for
America. And couldn’t find it
anywhere...’ the personification of
America is symbolic of the American
dream- contextually at the time the
world was seeing some major topics
being addressed, there was racial
inequality, women's rights/ pay
demand, the cold war hanging over
the public. This was the birth of cults
and hippies, people banding together
in a desperate attempt to obtain a
positive outlook on their America- but
that was lost a long time ago
Layout- the positioning of our
main character on the far right
allows the backdrop of the vast
country to almost eat up the
protagonist, he’s lost himself to
his surroundings.

2. Genre: drama
• Drama is quiet a broad genre, it usually goes hand in hand
with another genre element; a drama/sci-fi, a drama/
romance. But at its core, a drama- whatever sub genre its
attached to, is very focused on the human psyche and
connection. Examples of this being: 1917 (2019), Call me
by your name (2018), Taxi driver (1976) ; all dramas with
elements of romance, crime or war but to their core
following and observing the protagonist's character.
• The best way I can describe the kind of drama I want to
do is a slow-burn indie, like lost in translation, one night
on earth or I'm thinking of ending things- all films that
really don’t have a particular plot but take us on a
journey.

3. Ideas/ conventions
of a drama poster
Looking into developing a poster, I quite like the idea of going down a
drama/ slow-burn (romance?) route. Drama film posters are quite
stylistic and though not exactly teasers, they tend to take more
stylistic appearances to lure audiences in. If you look at drama
posters, modern or old, majority feature the main protagonists/ anti-
heroes in a close up or extreme close up; films like Silence of the
lambs (1991), The Black swan (2010) or Her (2013). Sometimes the
poster will use just a singular object that refers to something in the
film or perfectly sums up the character e.g., Fight club with soap
(1999), whiplash with drums (2014).

4. Zooming in on conventions
The extreme close up- dramas alongside having symbolic
objects may use their characters to draw audiences in, by
using extreme close ups, the poster is immediately engaging
us into an intimate connection with the protagonist or
antagonist of their film. It makes us as an audience want to
find out who they are. The poster for Cameron Crowe’s
Almost Famous (2000) features one of the films most
memorable characters; Penny lane. She is charismatic,
extroverted, friendly and is the perfect introduction into the
world of the film, like Patrick Fugit’s character William, we
fall into the rock and roll rabbit hole through meeting Penny
and her band.
Overall extreme close ups invites us into the life of the
person we share our gaze with on the poster, other posters
like the Social Network (2010) uses Zuckerberg to draw us
into the world of early Facebook or Nightcrawler (2014) into
the world of gritty news journalism- the list goes on and on.

5. Zooming in on conventions
The long shot- in complete contrast to the extreme close
up/ close up, there’s the mid long shot/ long shot. Instead of
inviting the audience in face to face, the characters are
blocked in the distance luring audiences in. The poster for the
Coen Brother’s Millers Crossing (1990) uses a wide long shot
with the action taking place at a distant to intrigue audiences
into wanting to take another step closer. Not only does it
hook people in but more so is telling about what kind of
character we will be following- without even seeing the film
we can tell that Gabriel Byrne’s Tom Reagan is a secretive
shadowy protagonist who instead of invites us into his
business, keeps us at a distance.
This a much more common style used within crime centred
dramas but is occasionally used in other genres for that same
‘luring’ effect e.g. Parasite (2019), La La Land (2016), Gone
girl (2014), Forest Gump (1994) and extra.

6. Zooming in on conventions
Solid backdrop- the use of solid backdrops/ backgrounds is common
within drama posters to allow more focus on the foreground/ main
image. It gives the poster a sophisticated and clean look, while using
its chosen colour to reflect the style of the film itself to set the tone for
audiences, for example the poster of Jonathan Dayton and Valerie
Faris’s Little miss sunshine (2006) incorporates the colour yellow- that
is not only embolic of the Family’s van- but emulates the bright joyful
atmosphere of the film. Yellow commonly symbolises positivity,
optimism, loyalty and spontaneity (very in keeping of the films
themes) and by having such a bold colour take up almost all the
poster, it’s guaranteed to grab peoples attention. Yellow is a
universally known ‘happy’ colour and its very likely that most
audiences will feel comfortable and invited just by looking at it.
To summarise, by using solid backdrops/ backgrounds, posters are
able to efficiently and effectively grab audiences intention while
symbolising its aesthetic; other examples of this can be seen in drama
posters like The favourite (2018) with a royal grey/ cream, a solid
black for Uncut Gems (2019) or the deep blue for Blue Velvet (1986)

7. Zooming in on conventions
Iconography- Drama posters (whatever sub genre they go
hand in hand with) tend use iconography as a way to
represent/ symbolise their film and its characters into one
singular object. Posters like Stanley Kubrick’s: Full Metal
Jacket (1987) uses the helmet worn by the films protagonist
James T Davis (Joker) in the film to summarise the film’s
ideology on war in a simplistic yet memorable object. By
doing this audiences will look at the poster before the film
wondering “ what could that be/mean?” to then leave the
theatre having it be what they think of every time they then
look at an army helmet in the future.
This has been done countless times such as the Bat symbol
with the Nolan’s Batman trilogy, the mask from Scream,
roses with American beauty (1999) and so on so forth.

8. Examples of 'drama' (romance) posters

9. Incorporating romantic implications
As I go forth, I would like to introduce a romantic element into my posters-
though I will be sticking with a more phycological drama motif rather than a full
blown rom-com. I want to reflect the more sour, bitter side of the romantic genre
with betrayal, death (loss) through a single character, and personally, most
romantic themed posters, don’t exactly fit my theme and ideas as much as
dramatic ones do

10. Example: (why I'm not considering a full-on
romantic comedy)
The general theme of a romantic comedy poster is a simplistic, polished
composition where (majority of the time) the two leads are blocked
either looking or standing with/ next to each other with text (the title)
usually bellow them or in the middle of them. Most rom-com's USP is
their all-star cast; for example, How To Lose a guy in 10 days (2003)
poster puts a lot of focus and emphasis on Kate Hudson and Mathew
McConaughey by using text of the actress and actors name at the top,
and the blocking of the two right in the centre to show: not only who's
in it (for those who might not know their names but faces), but more so
the characters playful dynamic. The text at the top shows that the
actors are the main priority here, as audiences' eyes are more likely to
go up and then down as they study the poster.
The use of bright happy colours- bright yellows and soft light greys
within their costume conveys the films an easy watch
This is not what I want for my 'intense character/ relationship' study

11. Image analysis:

12. • Format/ blocking- the back-to-back of the two characters is very symbolic of the relationship dynamic- it could
allude to the two characters friendship, they have on another's back, or a rivalry, having John Cassavetes
character holding a gun suspiciously glancing over into the distance of Peter Falks direction. Looking at it more
simplistically, the use of the mid shot length they're both featured at accomplishes standard poster law of letting
the audience know whom the film is following and showcases two stars of the time- it was around this time Peter
Falk was at his height with columbo- though that being said, I think this is more intended for indie movie goers.
• Colour- the use of neutral colours tells us this is not looking to grab the masses attention. We see so many
movies of that time using bold colours like red and yellow in action or crime genres to hook audiences in, so
having something like this displayed alongside them, it wouldn't stand out as much. The beige, chalky colour
pallet is said to be spiritually: dependable, conservative, and flexible. Once again this is symbolic of the pairing's
relationship in the film. They are dependent on one another for their individual goals but are flexible in the fact
that they are willing to give one another up so easily. And both are conservative in the fact both are afraid of the
changes that’s confronting them in their life and politically both traditional in their views). But more so having
such a gentle colour it allows more focus on the foreground
• images- the art style in which both Mikey and Nicky are drawn in resembles the artistic approach 70’s posters
took, having images done in oil paintings for their posters. Having this allows more modern audiences to be
intrigued as we don’t see much artistic works in mainstream posters today as we used to. The highlights being
traded for shadows and shadows faded for highlights gives the whole ensemble an unfinished, broken piece.
Again, I think this is reflective of their relationship and perfectly emulates the atmosphere of the film
• Text- the font used is particularly scrawly in a messy handwriting style, you find this with most independent or
indie flicks as it adds to the unpolished handmade aesthetic. More-so the format of both the names of the
characters and the actors are in alignment to the pictures on the poster, it’s a nice touch. Overall, it
demonstrates the gritty mess the characters experience through the film and suggests a more personal theme

14. • Format/ blocking- the use of blocking of the two leads having their heads overlap creates the effect
that they are one in the same, the rim of Alma's nose in perfect aliment of Elisabeth's right eye-
giving the illusion her nose is her eye- foreshadowing the pairs relationship within the film. The use
of the extreme close up more so creates some intimacy between the poster/ characters and the
audience. being so close up more so adds a layer of mystery- it makes the actresses/ character(s)
undistinguishable and encourages audiences to watch to uncover who they are.
• Colour- the lack of colour is used to concentrate the audiences focus onto the subject matter,
having a nearly solid white backdrop allows the audience to analysis the imagery instead of being
bombarded with an array of vibrant colors- so many action posters use this to cause excitement
and create a sense of chaos, but here the lack of it slowly lures audiences in and sets a
sophisticated and dark tone for the film.
• Imagery- the chosen image is a renowned shot from the film itself in a way giving a little taste for
the audience for what's to come. In saying that, seeming how this is a criterion release- a
streaming site for old cult films, the shot on the poster might have been used to invite fans of the
film into watching- using one of the many famous shots from the film make it recognizable at a
single glance and therefore is more likely to grab potential viewers' attention. More-so looking back
to the blocking of the models (actresses) it gives off a mysterious and intimate mood, for those
unfamiliar with the film, it will entice them to watch with its strange, vague imagery.
• Text- the text is slender and a solid black, very reminiscent of fonts horror movies sometimes use-
implying a sinister undertone within the film. The title has plenty of room around it allowing it to be
the center of the audience's attention. Moreover, as we can see other than the title and
the directors name, there's no other text/ tagline/ billing block- partially due to the
films establishment on criterion and therefore no need of it on the poster but further showcases
that the narrative and the director (Ingmar Bergman)- who also directed other renowned films- is
the poster’s USP

16. • Blocking and format- the use of blocking where the two share an intermate hug communicates to
passive spectators the pairs relationship- but by (in editing) essentially cropping her/ him out it
adds a layer of tragedy/ sorrowful tones that would intrigue such viewers to take a second
glance. By having the images framed in a long/ mid shot, we are held distant from the couple- it
adds a feeling of isolation and intrusion on the audience's behalf and perfectly encapsulates the
unsettling tone of the film
• The use of colour- the sandy/ white beige again allows optimal focus on the subject matter but
more so reflects the films dreary bland setting- the uk. The use of this sandy beige symbolises
purity, spiritual values and devotion- themes that pertain to the film's ideology. The two are
devoted to one another- they have a spiritual bond, as do the countless other couples of this
world, they stay together for purity from the transformation they will undergo if separated.
Furthermore, If we stand back and look at it more simplistically- the colours are easy on the
eyes- they are inviting and calm and promise a quiet ( though thought provoking and uneasy)
watch. The two characters more so are left unsaturated compared to their backdrop- it adds an
air of past to the poster, the characters tainted by the sorrowful nature of the film ( black and
white is famously used for an old timey/ distressing effect)
• Imagery- the imagery used of the pair hugging (one of which cropped out) adds a layer of
complexity and communicates this isn't your run of the mill rom-com. the use of performance
within the blocking where the hands are holding the other firmly incorporates themes of
ressentiment, reluctance to let go)- it suggests the world they live in is a harsh one, they have to
hold onto one another, cause their all the other one has. And then, by cropping the other out
introduces themes of loose- they have lost what completes them. the pairs expression is the
of contentment more so adds a layer of mystery to the pair. The weird calmness alludes to the
fact that though tragic this is a fulfilling watch )- much like the characters having fulfilment
through their pain.
• The text used- the use of all caps/ bold/ black text for the title- acts as a major stand out
compared to the serene imagery and colour pallet used in the poster. It communicates the most
important element of the film that is; one of the title, but more so the message and overall theme
of the film, as- if David can't find love, he will become a lobster. The following text is much softer
and smaller (aside from the main players of the actors and actresses that slightly bolder) running
below in the billing block and the client/ company above.

17. Zooming in :
Zooming in on persona’s posters we can see the same motif of
Elisabeth and alma’s relationship- the use of format and
imagery in nearly all of them join the two as one, a blend of
reality and fantasy. Things like the bottom poster with jigsaw
pieces show us the pairs connection- done in a stylistic unique
format.
All four posters approach promoting the film in a distinctive
new style and apart from a few reoccurring images, the four
posters look like their own separate film. In my opinion, by
doing this up to the release of the film, audiences will be
subconsciously digesting content from the same film (via the
posters) everywhere they go in different ways- and slowly, the
name and certain images will become memorable, overall
encouraging more people to watch.
By also having different stylistic posters, the film shows
different sides to the same tale, the intimacy with the criterion
poster , the abstract themes with the top left and top right and
playful qualities of the jigsaw pieces in the bottom right
allowing audiences to connect and invest themselves into the
film before even seeing it.

18. Running themes
The idea of completing on another, the composition of all three implies that both parties are
incomplete with the absence of the other. The blocking in persona- where the nostril is in
alignment of the eye gives off the effect that they are one in the same. The use of imagery in
Mikey and Nicky where the stylistic image has the background seep through giving off the
effect both characters are from the same plane of existence. And the cropped-out body of each
lover in lobster- leaving avoid in the other reflecting how they complete one another.

19. Campaign research
When researching for film marketing I decided
to look into a more modern release as it will
give me a more in depth understanding of
promotional campaigns in the present so I'm
able to hit the brief for the client (channel
Four). Netflix- though starting as a streaming
platform, has gradually become a more
renowned platform for major talents to develop
feature films on the site (much like channel
four).
This in mind I chose to look at Noah
Baumbach’s Marriage story for inspiration on
how to promote my film.
To showcase the parallel storylines within the
film, BLT Communications (Marriage story’s
marketing agency) utilized these pair of
posters- whilst the trailer was released
simultaneously. One shows the character of
Nicole and the another of Charlie, both of their
silhouettes set against light orange and blue
backdrops with a photo of the city they live in
shown within their cut-outs.
Contrasting colours of orange
and blue reflective of that of
fire and ice (clash of
personalities)
USP of the actress and actor
(text at the top) and more so
the golden globe nomination the
film received
Noisy city contrasting the quiet
suburban beach (again reflective of
contrasting personalities)
Netflix logo and ‘release date’ in
bold to communicate when and
where audiences can watch

20. Campaign research
For its theatrical poster, the characters are shown in
happier times through their performance- playfully
embracing as their child Henry squirms at the bottom. It’s
simplistic style not only gives the film a sophisticated look
but is reminiscent of movie posters of the 70’s for a
vintage effect and establishes the core dynamic of the
story. The use of a beige/ eggshell colour for the backdrop
effectively draws more focus on the image while
symbolising the films modernism- the colour is known to
have an engaging effect on people and so by using it, the
film successfully draws people in. The poster makes it a
point to have a line of its accomplishments at the top
showing that the film has received multiple nominations
and awards. This solidifies it as a critically acclaimed film,
inclining more audiences to give it their time. The use of
font is slick and thin- presenting the film as professional.
By more so bolding certain text, it communicates key
information to the audience- e.g. the title, the date of
release and the streaming platform its available on (the is
amplified by the use of Netflix's signature red colour)

21. Social media campaign (online
marketing)
Using social media platforms like
Instagram/ Facebook and twitter- the
movie’s promotional campaign can be
reached by a global audience- it alerts
spectators of upcoming events, dates
of release and of new posters/
trailers.