Movie Parasite International Posters / Irene Lee 3171320

 


The movie, Parasite, has been gaining international recognition. As a person with a Korean background, it was fascinating to see how such Korean cultures contained in the movie were able to be communicated worldwide. Throughout various international film festival nominations, many different versions of posters were produced as well – which will be the topic of the post today.


 

South Korea, Kim Sang-man. (“Movie Poster of the Week: The Posters of ‘Parasite’”)
South Korea, Kim Sang-man. (“Movie Poster of the Week: The Posters of ‘Parasite’”)

The original Korean poster was designed by Kim Sang-man, a film director who started his career as a poster designer. Despite the fact that the intension of the designer is not really known, the design choices communicate the content of the movie. The major characters are featured with numerous significant objects used in the movie which deliver menacing feeling within settling and organized tone. The semi-anonymity of the characters, their eyes being covered, also adds the dramatic tension to reveal the genre of the film. The socioeconomic classes of the families are specified with the colour of the boxes covering the characters’ eyes – colour white is used for the Kim’s family, while colour black is used for Parks. The custom designed typography adapting parasitic plant features also resembles the theme of the movie, depicting how people in society are closely connected, while “feeding” each other.

 

 

 UK, La Boca. (“Movie Poster of the Week: The Posters of ‘Parasite’”)
UK, La Boca. (“Movie Poster of the Week: The Posters of ‘Parasite’”)

The poster designed by La Boca, in U.K, is divided into 9 blocks, emphasizing the architectural spacing of the movie. The divided, but yet still connected “rooms” represent important places of the movie, containing signifiers of the film – such as peach, toilet and scholar’s rock, etc. Its unique stylistic choices alongside the bright and vibrant colours, would be the Oscar under the living room table, although it was released ahead of the Oscar nominations. While carrying the designer’s personal prediction, it adds wit, as a hidden element.

 

 

UK, Andrew Bannister.(“Movie Poster of the Week: The Posters of ‘Parasite’”)
UK, Andrew Bannister.(“Movie Poster of the Week: The Posters of ‘Parasite’”)

Another example of alternative UK poster is made by Andrew Bannister, which is designed to be reversible. The letters of the title divide the plane in half, vividly presenting the contrast of two different families. The characters are walking down and up the stairs depending on the point of view. This illustrates the sharply-setup-storyline that happens based on a single architecture, both metaphorically and physically depicts contradicting socioeconomic classes. Colour use is also echoing the theme, while the highlights and shadows are done with the colours from the other half for the balanced harmony. This poster also depicts few of the main signifiers such as the self-portrait and the scholar’s rock.

 

 

South Korea, Parasite Poster (International). (“Movie Poster of the Week: The Posters of ‘Parasite’”)
South Korea, Parasite Poster (International). (“Movie Poster of the Week: The Posters of ‘Parasite’”)

Meanwhile the previous poster chose to represent the story with use of clear lines, two-dimensional treatment of the colours, ad simplified figures – here is another alternative poster made in Korea targeting the international audience. Unique enough, the entire poster is done with ink wash painting, which connects to the concept of the scholar’s rock functioning as a fortune teller. Placing the sueseok (scholar’s rock) as the main background feature, the two families from different socioeconomic status are positioned. Interestingly, the water reflection of the characters is reversed, to emphasize the similarities and differences of the characters as members of the society.

 


Citation

“Check out the Brand New International Poster for Bong Joon-Ho’s Parasite.” Little White Lies, lwlies.com/articles/bong-joon-ho-parasite-new-international-poster/.

“Movie Poster of the Week: The Posters of ‘Parasite.’” MUBI, 24 Jan. 2020, mubi.com/notebook/posts/movie-poster-of-the-week-the-posters-of-parasite.

Netflix Logo History – Hyelin Kim

Netflix, a subscription-based streaming platform with over 150 million worldwide users, has distinctive logo history over the recent twenty-two years. It all started in 1997 when Reed Hastings and Marc Randolph got together to build a DVD rental business.

netflix_1998_logo

Fig. 1 Netflix 1st logo, 1997-2000

The very first logo Netflix had was a very generic black text in a serif font with a spiral, representing a celluloid film, dividing the words “net” and “flix.” It has a poor representation of the company as it is hard to recognize Netflix’s identity without recognizing the film reel. Although it does manifest an aspect of what the business offers, it was not enough. The logo only lasted three years until the replacement came in in 2000.

netflix

Fig. 2 Netflix 2nd logo, 2000-2014

Unlike the first one, the second logo did perform quite a successful remark. It was eyecatching and full of bold characteristics: A clear, white, long and narrow typeface framed with black casting shadows laid on top of the notable red background. The arched bottom of the text, possibly an influence derived from the round film reel of the previous logo, paid an additional flavour to its characteristics (“The Evolution of the Netflix Logo”).

This design was successful as it remained for fourteen years; however, it had to give up its place due to the big shift in Netflix’s business model. Although they started as a disc distribution rental company, the evolution of media and emerging technologies like smartphones and tablets eventually replaced the DVD with online streaming services. Netflix quickly grasped on to the change and began to mainly offer online subscription-based streaming services that we know today. 

The revision in the logo was necessary as the typographic style and bold black outlines reminded “too much of old Hollywood posters to properly represent Netflix’s growing model of streaming TV shows, and even personally licensed Netflix series” (“Learning from Netflix’s New Logo Design”). Moreover, the growing use of smaller devices, like tablets, had to be considered since the logo had to be rendered into smaller sizes fit for smaller screens.

screen-shot-2020-02-14-at-6-58-09-am

Fig. 3 Netflix current logo, 2014-present

With all the aforesaid factors considered, the current logo that we know now came to the surface in 2014. The significant colour red and the arched text persisted; however, they were utilized differently. The red coloured the type laid on top of the black background to create a vivid contrast and to emanate a “premium cinematic feel” (“Symbol”). They maintained san-serif typography but in a Gothic font, which stands less narrow with higher legibility than the previous design. Removing the bold, black outlines and replacing with bold, yet balanced, san-serif font enabled a more versatile and well-defined design.

screen-shot-2020-02-14-at-6-57-55-am

Fig. 4 Netflix symbol, 2016-present

In 2016, Netflix stretched further and revealed another logo for the main use in a smaller-size application, such as an app icon, by bringing the initial “N” into the model. Maintaining its recognizable black and red colour palette, a drop shadow is pronounced to give out a simple 3D design in the letter (Marateck). The logo embodies a “z-axis design element,” endowing the “N” with the subtle depth. This clean yet distinct logo design has taken a critical part in representing the company on mobile devices.

The type of design approach made in the symbol for Netflix is notable. The official Netflix website says that N represents “connection and a never-ending stream of stories” (“Symbol”). Some add to that it almost reminds of a “red carpet” or a folded “ribbon that is streaming” (Marateck). This metaphorical design approach is currently prevailing in logo designs compared to the dying trends of skeuomorphism, a design concept that represents the items to “resemble their real-world counterparts” (Marateck). Now that enough time has passed for the consumers to get a profound insight into the digitals, less literal and less “hand-holding” in the design framework can be done (Marateck). This shift in consumer perception became another factor that enabled today’s Netflix logo design in the current design market.

In conclusion, the Netflix logo is an example of a successful rebranding of a company. Over the twenty-two years of period, it could reflect the company’s identity through constructing a proper and strong logo design.

 

Works Cited

“Learning from Netflix’s New Logo Design.” Nxtbook Media, 23 July 2019, www.nxtbookmedia.com/blog/learning-netflixs-new-logo-design/. Accessed 13 Feb. 2020.

Marateck, Julie. “Netflix Logo Design: The Sequel.” Medium, Theuxblog.com, 27 Jan. 2017, medium.theuxblog.com/netflix-logo-design-the-sequel-991607927b78. Accessed 13 Feb. 2020.

“Netflix Logo Design – History and Evolution.” Turbologo, 27 Aug. 2019, turbologo.com/articles/netflix-logo/. Accessed 13 Feb. 2020.

“Symbol.” Netflix Brand Site, Netflix, brand.netflix.com/en/assets/brand-symbol/. Accessed 13 Feb. 2020.

“The Evolution of the Netflix Logo.” WordPress, 7 Dec. 2016, johnuhlemanngraphics.wordpress.com/2016/12/07/the-evolution-of-the-netflix-logo/. Accessed 13 Feb. 2020.

Illustrative Movie Posters by Ola Oyenuga

Nowadays there seems to be very little innovation in the realm of movie posters. The same compositions, color schemes, poses and graphic treatments are recycled, and circulated all around the movie industry. Especially in Hollywood, there’s a high chance that any recent movie poster you see is an unoriginal remake of an tried and established poster format. This makes film posters – in my opinion – an increasingly boring and uninspired example of graphic design today. It’s intriguing to ponder why this is the case.

Ethan Anderton, 2011. (Check This Out: Hollywood’s Most Common Trends in Movie Posters | FirstShowing.Net)

However, there’s a specific style of movie posters which, while not completely original, is almost always unique and never fails to hold my attention. This is the illustrated style. Posters illustrated by the hand of an artist, usually incorporating illustrated typography as well. A modern example of this sort of poster would be Stranger Things’ classic poster illustrated by Kyle Lambert, or more recently the poster for Once Upon A Time In Hollywood illustrated by Steve Chorney . These posters posses a an enchanting quality to them largely because of the of painstaking detail in the illustration and the amount of time and attention that surely went into their production. Illustrated movie posters were most popular from the early 1940’s when fantasy films rose to popularity in an effort for the movie industry to recapture the attention of the public that now had Television screen for entertainment., up until the 80’s at the advent of computerized special effects (History of Movie Posters | FFFMovieposters.Com). Some of the most iconic illustrated movie posters are that of Star Wars and Indiana Jones by Drew Struzan. These posters posses a charm that is almost universally recognizable.


Kyle Lambert, 2016. (Kyle Lambert – Stranger Things – Poster)
Steven Chorney, 2019. (Movie and TV)

Drew Struzan, 1997. (Www.DrewStruzan.Com)

The illustrated movie poster is making something of a comeback today. Relatively few productions today patronize artists to illustrate their posters, those that do are usually deliberately trying to express a retro or nostalgic style, films such as Baby Driver or Read Player One which have either an aesthetic/theme that hearkens back to the older generation or that try to capture a nostalgic period. Or Deadpool which uses it for satirical intent. But regardless of the reason for employing this style of film poster, the effect is grand, effectively breathing life and expresses a uniqueness and fantastic wander that would make one at least curious to see what such a film might be about. Especially when placed next to the repetitive film posters of today, this style is truly one of a kind.

James Goodridge, 2018. (James Goodridge Illustration)

Citations

Artist Steve Chorney on Crafting Once Upon a Time in…Hollywood’s Poster & More | The Credits. https://www.motionpictures.org/2019/08/artist-steve-chorney-on-crafting-once-upon-a-time-in-hollywoods-poster-more/. Accessed 14 Feb. 2020.
Check This Out: Hollywood’s Most Common Trends in Movie Posters | FirstShowing.Net. https://www.firstshowing.net/2011/check-this-out-hollywoods-most-common-trends-in-movies-posters/. Accessed 14 Feb. 2020.
History of Movie Posters | FFFMovieposters.Com. https://fffmovieposters.com/history-of-movie-posters/. Accessed 14 Feb. 2020.
History of Movie Posters | FFFMovieposters.Com—. https://fffmovieposters.com/history-of-movie-posters/. Accessed 14 Feb. 2020.
James Goodridge Illustration. https://jamesgoodridgeillustration.com/illustrations.html. Accessed 14 Feb. 2020.
Kyle Lambert – Stranger Things – Poster. http://www.kylelambert.com/gallery/stranger-things-season-1-poster/. Accessed 14 Feb. 2020.
Movie and TV. http://www.stevenchorney.com/#Movie_and_TV. Accessed 14 Feb. 2020.
Www.DrewStruzan.Com. http://www.drewstruzan.com/illustrated/portfolio/?fa=large&gid=1182&pri&gallerystart=1&pagestart=1&type=pri&gs=1. Accessed 14 Feb. 2020.

Horror film posters of the 80’s – Blog Post 1 – Hwa-jin Jun

The 80’s brought North America some iconic horror films still watched today. They employed heavy use of traditional illustration, simple typography, and high contrast colour to instil unease and curiosity. A few classic examples include The Shining (1980), Evil Dead (1981), Re-Animator (1985), The Thing (1982), and The Fly (1986) (see fig 1)

 

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Figure 1. Posters for The Shining (Kubrick and Bass), Evil Dead (Humphreys), Re-Animator (n/a), The Thing (Struzan), and The Fly (Mahon).

Illustrations are composed of stylized realism with traditional mediums like paint and ink. Colour palettes vary, but enjoy the use of bright colours used in stark contrast to abundant black. The Shining for example, uses black text on blaring yellow, while the Re-Animator employs the use of primary colour detail on black background. Together with the use of high contrast lighting similar to chiaroscuro, the illustrations take on a sense of volume to create the illusion that objects are coming out from the depths of the shadows. For Richard Mahon who illustrated The Fly poster, these characteristics are pretty typical of his other compositions, though general film posters of that time show that it was a well-regarded trend (see fig 2).

screen-shot-2020-02-13-at-5-00-11-pm

Figure 2. Mahon’s illustration for the film Naked Tango (Mahon).

The subjects of illustration are of frightening suggestion, like the flash of an inhuman being or fearful gaze. The unease one feels when looking at these is due to the implied understanding that something eerie is to happen. When examining The Fly, it is the question of who — or what — might be appearing. Why is there a boy’s face frozen in a gasp of horror in The Shining? Fear of the unknown is a phenomena that holds many of us.

All capital letters are typically used for titles, though this is common to films outside the genre, including the use of sans-serif typefaces. Simply styled and easy to read, the titles have only the simple task of naming the film at hand. For the most part, they typically have little indication that they are tied to the horror genre.This does not detract from the mood the poster exudes. Instead, the emotionless, cold text starkly contrasts the dynamic background illustrations, and seems to further emphasize the horror the illustrations present. 

When you compare the evolution of horror posters from the early century until the 1980’s it is interesting to note that similarities arise in the use of black background and sparing uses of colour to create dark moods (see fig. 3) (Dainis). The use of large scale portraits and multi-person collages are thrown out in favour of busts and minimal compositions housing single figures or objects. Typography also becomes less visible; the amount of compositional copy has increased, though most of it has decreased in size to leave only a title and optional header easily visible to viewers. Title position has also changed — from being situated anywhere in the composition, they become aligned to the vertical axis and are also much less obnoxious in size and style.

poster-brideoffrankensteinthe_08 white-zombie-movie-poster poster_dracula_bela_lugosi frankenstein

Figure 3. The posters for The Bride of Frankenstein (n/a), White Zombie (n/a), Dracula (n/a), and Frankenstein (n/a).

 

 

Works cited

Dainis. “Evolution of Horror Movie Poster Designs: 1922 – 2009.” Hongkiat,
www.hongkiat.com/blog/evolution-of-horror-movie-poster-designs-1922-2009/.

Humphreys, Graham. The Thing. Digital file, 1981.

Kubrick, Stanley, and Saul Bass. The Shining. Digital file, 1978.

Mahon, Rich. “The Art of Rich Mahon.” Rich Machon, richmahon.com/
The_Art_of_Rich_Mahon.html.

Struzan, Drew. The Thing. Digital file, 1982.

N/a. Bride of Frankenstein. Digital file, 1935.*

N/a. Dracula. Digital file, 1931.*

N/a. Frankenstein. Digital file, 1931.*

N/a. Re-Animator. Digital file, 1985.*

N/a. White Zombie. Digital file, 1932.*

 

*It seems the illustrators and designers have been lost, or are incredibly difficult to find. There was no information available as to who the artists maight be.

(Also the category of blog post 1 was not available?)