A fascinating new book – Separate Cinema: The First 100 Years of Black Poster Art – has been released celebrating the first 100 years of black film poster art. A visual feast, these images recount the diverse and historic journey of the black film industry from the earliest days of Hollywood to present day. Accompanied by insightful accompanying text, a foreword by black history authority and renowned academic Henry Louis Gates, Jr., and an afterword by acclaimed film director Spike Lee.
Part aesthetic, part nostalgic, the posters have meaning to the young and old alike, and possess the power to transcend ethnicity. From early independents to 12 Years a Slave, these posters represent a journey: they remind people of the pioneers of the past, those courageous and daring African-American filmmakers, entertainers and artists whose dreams and struggles paved the way for future generations.
A brilliant overview of the last century of film poster art that … every student of African-American history and culture should experience.”
The wealth of imagery on these pages is taken from The Separate Cinema Archive, maintained by archive director John Kisch. The most extensive private holdings of African-American film memorabilia in the world, it contains over 35,000 authentic movie posters and photographs from over 30 countries. This stunning coffee table book represents some of the archive’s greatest highlights.
Carmen Jones (Poland, 1954)
There was a golden era of film poster design in Poland in the 1950s and some of the country’s foremost artists provided their visual perspectives on America’s black culture.
Cabin in the Sky (1943)
This is one of the few American posters where the identity of the artist is known. ‘Al Herschfield was a highly regarded artist in advertising,’ says Kisch. ‘This poster is simple but exciting.’
My Baby is Black! (1961)
In the 1950s and 60s a slew of black indie production companies were producing B-movies that offered titillating treatments of taboo topics such as sex, violence and, in this film, interracial love.
Black Orpheus (Poland, 1959)
Made in Brazil by French director Marcel Camus, this film helped introduce the world to bossa nova and the role of music in the film is highlighted in this Polish poster.
The Butler (2013)
The bow-tied butler in this poster holds the White House on a tray in his left hand, his right hand outstretched in a black power salute: defiance and deference in one image.
The Exile (1931)
The film’s plot concerned an apparently interracial love affair, a subject considered so controversial that some posters did not feature a printer’s logo as if those responsible did not want to be associated with the film.
The Green Pastures (Sweden, 1936)
The Green Pastures (USA, 1936)
This was an all-black-cast musical that told the story of the Bible. ‘The Swedish poster here is a graphic illustration of a man and a woman in the Garden of Eden,’ says Kisch. ‘Contrast that with the American poster which was neutered.’
La Revue Des Revues (Sweden, 1927)
Despite originating from Sweden – black film posters by designers from outside the US usually showed more sophisticated attitudes to race than their American counterparts – Kisch points out that: ‘It is racist – the band members with their big red lips – but it is also very stylised.’
Guess Who’s Coming To Dinner (Japan, 1967)
In the year that this film was released, Sidney Poitier also released In the Heat of the Night and To Sir, With Love making him the biggest movie star of 1967.
Slaughter (1972)
The posters for blaxploitation films such as this one depicted the stars in hyper-heroic poses – wielding huge guns, girls in tow – a filmic fantasy version of the black power movement.
Emperor Jones (1933)
The poster for the film would, Kisch says, ‘have cost a lot of time and money to produce’. It featured a painterly style. By contrast, the posters for independent films would often use only two colours and be made in a few hours.
She’s Gotta Have It (1986)
Spike Lee’s groundbreaking first feature was pioneering in its representation of black people in American cinema, as reflected by the relaxed, naturalistic look of its stars on the poster.
Caldonia (1945)
This poster, given to John Duke Kisch in 1973, first ignited his interest in black cinema poster art. ‘I was an aspiring photographer at the time,’ Kisch says ‘and the graphics really spoke to me.’
All the images and quotes from Separate Cinema: The First 100 Years of Black Poster Art (Reel Art Press), published on 6th October 2014.
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