Man on Ledge

*The buildings on top and bottom of the frame mirror each other.

*Yet the visual weight feels as though it resides at the bottom of the frame. This is not only because of the figure in the bottom of the frame, but also because of the non-diegetic type that names the film, which itself is above six smaller frames which contain close-ups of other figures.

* A contrast is interesting here. The six individuals reside safely, even snug, within their respective frames, while the figure on the ledge in exposed and dangerously adrift in his larger frame.

*The eye is drawn toward the lighter space in the center of the frame. Indeed, this makes it seem as the man on the ledge, too, is pulled into this space.

*One more thought about the figures in their individual frames. We notice that they are grouped together horizontally at the bottom of the frame, set apart from the man on the ledge. Indeed, he is alone on the ledge, and they are grouped against him.

My take: This advertisement is meant to give the viewer a sense of vertigo. It is also intended to create narrative curiosity: will he or won’t he jump? I think it’s interesting that we don’t see the face of the man on the ledge, when he, I suppose, is the star. If the studio execs are trying to cash in on his star power, I’m afraid they’ve failed.

Descendants

* The eye is drawn to George Clooney in the lower left of the frame because light from the middle of the frame leads the eye there.

* Next the eye is drawn toward the two smaller figures in the lower right of the frame because that is the direction that Clooney is looking.

* The weight of the picture is the lower left corner of the frame—Clooney in profile.

* There is a startling amount of light that could be considered white space in the center of the frame. It is the contrast of this light with Clooney’s darker figure that seems to give Clooney’s presence a tinge of sadness.

* We notice that the two figures in the background are grouped together, while Clooney is alone. Yet, he is given more presence in the composition.

* The top of the frame is dominated by a red umbrella. This umbrella gives the illusion that it covers all. This could be read as metaphor.

My take: The producers of the film wanted to play up Clooney’s part in this film. The poster features him, not the other characters. I think it wants to make us feel for Clooney’s character. We are to understand he’s not a happy man.

Bring Me the Head

* The composition is overwhelmed by the size of the head. By comparison, the letters naming the film are small. There is also another small figure next to the letters.

* The eye is drawn to the mass of flies that function here as the man’s hair.

* There is stark contrast in colors between the white of the man’s face and the black of the flies.

* White space borders the picture. The lower left corner has more white space than the lower right corner. This gives the composition an asymmetrical quality.

* The visual weight of the composition is dead center. The eye isn’t led anywhere else, except toward its center.

My take: This seems to be representing the graphic nature of the film. It even takes into account some narrative facts, like the flies swarming around the head. This poster tells the viewer this world of the film is dirty, disgusting, and dark.

Late Spring

*The black and white composition is broken up into six separate frames. Interestingly, the largest frame has least amount of visual information. It is mainly an empty sky with a cloud in the lower right hand corner of the frame. In this frame are words that indicate the title of the film and name of the director.

* Of the four frames on the bottom, the frame on the left and the frame on the right seem to be contrasting each other in content. The one of the left shows a woman dressed in traditional Japanese clothing. She is foregrounded, in close-up, so we are able to register the expression on her face.

* This frame is contrasted to the frame on the right that depicts a more modern day situation, indicated by the bicycle which is foregrounded in this frame. In this frame the human figures, of which there are two, are shown in the background, in a long shot. The figures have their backs to the camera. We cannot read expressions on their faces.

* There is repetition in the size of the three frames in the center of the composition. It appears that three frames are the only ones in the composition that are the same size. The three frames stacked on top of each other gives off the appearance of a roll of film.

* As far as groupings, it is interesting to see the couple grouped together in frame on the bottom right, as opposed to the solitary figures in frame on the left and the middle small frame.

My take: I believe this poster is trying to reflect the narrative of the film. The woman is caught between a traditional role, in which is somewhat alone, and a more modern world, in which she might find companionship. It is her father, in the small frame, who stands between these two different paths in her life.

two-lane--print source

*The eye is drawn right to left by the diagonal road, descending slightly. The composition is unbalanced.

*All of the weight seems to rest near the left bottom of the frame.

*The size of the car seems to give weight to the composition. The car’s size makes the other objects in the picture, the man for example, seem to be subordinate to it.

* The figures and the car are foregrounded. In the background, which takes up a good portion of the composition, there is rural countryside, above which is the horizon line.

* The three figures are grouped together in the lower left of the frame. This seems to suggest some solidarity within the group. Though, it should also be noted that even within this grouping, two figures are grouped closer together, leaving one figure slightly detached from the group.

My take: This is harking back to a classic car culture. The car says “classic.” The landscape says “Americana.” At the same time we sense an element of youth counter culture. This is most notable in the hair and clothing of the figures. Interestingly, the female looks somewhat androgynous. This is not playing up any idealized version of woman. The image seems to be stripped of idealization, even of the car culture it represents.