In the 1920s the Russian avant-garde influenced the design of movie posters.
The high artistic level of the Soviet posters of the 1920s is the result of redefining the role of the artist, caused by the 1917 revolution.
“Art should not focus on the mausoleums that are called museums. It has to spread everywhere, on the tram, in the streets, in factories “, proclaimed Vladimir Majakovskij.
To serve the new order, the artist felt morally committed to producing posters for cinema, considered a symbol of the modern age and a half of expression particularly suitable for a society that wanted to project itself into the future.
The state lavished huge amounts of money in the film industry, so much that in the 1928 the films funded by the soviet government were well one hundred and twenty three. The temptation to dedicate himself to the movie poster was therefore irresistible for the Artists. The work was stimulating but far from easy.
The hints provided to make the poster of a foreign film were just a simple photo or a short summary of the plot. Despite these incoherence, almost all the authors avoided the trap of the easy narrative scheme and trivial composition, typical of the Hollywood poster of the time that often featured oversentimental and romantic hugging scenes.
The central theme of Soviet vanguard posters is the future, translated into an optimistic view of the evolution of Soviet society.
The hope that these artists have in the future and the enthusiasm that animates them make the thought of the moment when they have to contend with reality become even more sad.
by The Fool Dot