Présentation de l'éditeur
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.
Biographie de l'auteur
Tony Nourmand is co-owner of The Reel Poster Gallery in London, the premiere international gallery for original, vintage film posters. He is author of James Bond Movie Posters, co-author of Hitchcock Poster Art and co-editor with
Graham Marsh of the Film Poster books by the decade which have been published in this series before. He was Christie's London consultant for Vintage Film Posters between 1992 and 2003. Graham Marsh is an art director, illustrator and writer. He is author and art director of many ground-breaking visual books, including The Cover Art of Blue Note Records, Volumes 1 and 2, Eastcoasting and California Cool. He is co-author of
Denim - From Cowboys to Catwalks and co-editor with Tony Nourmand of the Film Poster books by the decade which have been published in this series before. Dave Kehr is a New York film critic and has written about movies for The New York Times, Entertainment Weekly and the Chicago Tribune.
He is author of Italian Film Posters published by the Museum of Modern Art and he is currently working on a Clint Eastwood produced documentary about Western filmmaker Budd