From Publishers Weekly
Flashdance, Fame, 9 1/2 Weeks, The Right Stuff, Top Gun, The Terminator-all are standard references when talking about classic Hollywood films from the Reagan years. The proprietor of London's Reel Post Gallery, Nourmand here offers another ten-year stock taking (Film Posters of the 40s; Film Posters of the 50s; etc.), again with graphic designer Marsh as collaborator. Many of the 131 full-color illustrations are full-page (the book is 9 1/4 x 11 1/2); the reproductions are sharp enough to read almost all of the credits and fine print, though the colors could be brighter. For anyone who lived through the era, the images will seem familiar, so ubiquitous were they (and are now, in the video store aisles), so there are almost no surprises here.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Présentation de l'éditeur
The 1980s was an exceptionally fertile period for the cinema, which skilfully reflected the decade's diverse trends and the tastes of an audience obsessed with fashion, music and the latest high tech gadgetry - preferably in matt black. As the US regained confidence in itself during the Reagan years, Hollywood catered to the emerging yuppie market with movies that range from brat-pack capers such as St Elmo's Fire and The Breakfast
Club to testosterone driven blockbusters like The Terminator and Die Hard, from the independent, low-budget films of the Coen Brothers to the revival of classic American film noir. The Brits chipped in with A Fish Called Wanda and Chariots of Fire and the Italians with the enchanting Cinema Paradiso, which was one of a number of foreign language films (Betty Blue, Ran, Kagamusha) that broke through into the international market. The wide variety of films on the screens of the burgeoning multiplexes was fully reflected in the poster art of the period, the cream of which features in this book.
Club to testosterone driven blockbusters like The Terminator and Die Hard, from the independent, low-budget films of the Coen Brothers to the revival of classic American film noir. The Brits chipped in with A Fish Called Wanda and Chariots of Fire and the Italians with the enchanting Cinema Paradiso, which was one of a number of foreign language films (Betty Blue, Ran, Kagamusha) that broke through into the international market. The wide variety of films on the screens of the burgeoning multiplexes was fully reflected in the poster art of the period, the cream of which features in this book.
