Marketing Breakdown: The Masses

Last week, a reader wrote that mainstream movie posters should not be faulted for avoiding risks when they are trying to appeal to the masses. But is there any proof that these posters actually are appealing to the masses?

In response to the actor-heavy posters I criticized, the reader wrote, "In terms of selling the movie they succeeded, because that’s what speaks to moviegoers." That may have been true 10, 20 years ago. But in the age of IMDb, it is hard to believe that moviegoers are surprised by a film's cast when they see it displayed on a poster.

More thought-provoking was the reader's take on the function of film posters. Posters are created to sell films, not themselves, he wrote. Being a fan of posters, he probably didn't mean this, but that statement implies that little effort needs to be put into the design of a poster as long as it includes the film's basic information (title, cast, etc.). It also suggests that posters are throwaway ads — like fliers pinned to a telephone pole. If that were true, there wouldn't be so many movie posters etched in our collective memory.

Posters are older than the films they advertise, as they are usually released before them. Therefore, a poster should be able to stand as a work of art unto itself. And many have because the great ones are not merely representations, but interpretations of films.

In his profile of the great poster artist Drew Struzan, LA Times reporter Tom Russo wrote, "At its best, the art of movie poster illustration creates a tangible sense of adventure." It also personifies mystery, as evidenced by this poster. The light beaming from the central figure seems to be an externalization of the characters' collective dread in facing the unknown danger embodied by the film's title. Of course, it also represents the alien lifeform infecting the characters. As the film's director, John Carpenter said, the creature is a symbol of disease (specifically AIDS) and our nation's warped view of those afflicted with it. The central figure in this poster is that funhouse mirror reflection of the afflicted.

A great poster like this one sparks discussion and creates a visceral feeling of discovery, which is precisely what's missing from many mainstream posters these days. They may still grab your attention, but only for a moment, as they lack the artistic power to stay ingrained in your conscious.

Here are two posters that indicate the dichotomy of today's promotional artwork — the risky and the safe.

This is an example of what a movie poster should be — at once ambiguous and perfectly clear, informative and seductive. The blooming flower in the center of this poster embodies delicate femininity while the gun-toting woman inside it suggests that every rose has its thorns. This image summarizes the film, but it also leaves the viewer thinking and hungry for more — as great posters do.

To answer the question I posed earlier about what appeals to the masses, I'll leave the analysis of this poster up to you. Out of the two, which one appeals to you more and why? When we know that, maybe, just maybe, we can unravel the mystery behind what makes a poster great.

Speaking of reader feedback, we're considering a new name for this column, as the current one sounds like the title of a data spreadsheet. How about "On the Walls" or "Poster Power?" See, we need your help. If you suggest a name that I end up choosing to replace the current one, I'll give you a prize. Perhaps I'll have you join me as a guest writer in a poster discussion for an upcoming column. How does that sound?