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Tony Nourmand, Graham Marsh
Taschen, 2006 - Antiques & Collectibles - 191 pages
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Sex, drugs, delinquency, Black power, alternative culture and, of course, rock and roll: these are just some of the themes which have attracted the attention of the cinema's bottom- feeders over the past eighty years. A few of the resulting films have become cult classics, but most were simply tacky - few would probably now want to sit through two hours of High School Hellcats (1958) or Hot Rod Rumble (1957). The posters produced to promote them, on the other hand, are wonderful period pieces that vividly evoke the social fears, temptations and taboos of bygone eras. Up until the introduction of the Hayes Code in 1934 Hollywood had few inhibitions ; the poster for Girl Without A Room (1933), for example, left audiences in little doubt as to how the young lady planned to find accommodation. Later in the decade, it become necessary to adopt the old tabloid trick of pretending that titillating content had a redeeming social message - thus the producers of Marihuana (1 936) were obliged to present it as a warning about the dangers of drug addiction. In the 1950s, it was the Beats and juvenile delinquents who put a chill into middle-class hearts - and, of course, attracted middle-class kids to the drive-in screens. Then, in the 60s and 70s, came 'Blaxploitation' movies like Shaft, Russ Meyer's mammary-obsessed epics like Faster Pussycat, Kill, Kill, and even an animated sexploitation story, Fritz The Cat. The posters for these films, from Alberto Vargas' artwork for Ladies They Talk About (1933) to Alan Aldridge's photomontage for Warhol's Chelsea Girls (1966), are masterpieces of visual innuendo, offering, in most cases, far more that the movies actually delivered.

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Exploitation Poster Art

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Movie posters are one of the most colorful, appealing, and exciting graphic design mediums. This large-format collection showcases posters of "exploitation" films-i.e., films made between the 1910s ... Read full review


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About the author (2006)

Tony Nourmand is the proprietor of the Reel Poster Gallery in London, from whose collection all the images in this book come.

Graham Marsh is a graphic designer who has already collaborated with Tony Nourmand on Film Posters of the 50s, the 60s, the 70s as well as Hitchcock Poster Art.

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