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John Henry Alvin (November 24, 1948 [1] – February 6, 2008) [2] was an American cinematic artist and painter who illustrated many movie posters. [2] Alvin created posters and key art [1] for more than 135 films, beginning with the poster for Mel Brooks's Blazing Saddles (1974). [2]
The world's first film poster (to date), for 1895's L'Arroseur arrosé, by the Lumière brothers Rudolph Valentino in Blood and Sand, 1922. The first poster for a specific film, rather than a "magic lantern show", was based on an illustration by Marcellin Auzolle to promote the showing of the Lumiere Brothers film L'Arroseur arrosé at the Grand Café in Paris on December 26, 1895.
File:A Man Called Otto poster.jpg; File:A Man Called Peter.jpg; File:A Man Called Sledge.jpg; File:A Man Could Get Killed- Poster - W.jpg; File:A Man for All Seasons (1966 movie poster).gif; File:A Mermaid in Paris.jpg; File:A Midsummer Night's Dream Poster.jpg; File:A Midsummer Night's Sex Comedy film poster.png; File:A Million Miles Away film ...
The Strangers' lair is a large underground amphitheater, in which a sculpture of a human face hides a large clock and a spiralling device changes the layout of the city above. The set for the lair was fifty ft (15 m) in height, while an average set is thirty-six ft (11 m), and was built on a fairground in Sydney, Australia.
Also called a 3/4 shot. A translation of a phrase from French film criticism, plan américain, which refers to a medium-long ("knee") film shot of a group of characters, who are arranged so that all are visible to the camera. The usual arrangement is for the actors to stand in an irregular line from one side of the screen to the other, with the ...
This can be used to create an image that moves ("motion effect"), or can create a "zoom" or "morph" effect, in which part of the image expands in size or changes shape as the angle of view changes. The movie poster of the film Species II is an example of this technique. Stereoscopic effects
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(1961) measures four-foot by four-foot and is in graphite and oil. [3] The painting depicts a man looking through a hole in a door. [4] His finger is extended to open a circular peephole, while simultaneously allowing the artist to present his face. The painting also uses a speech balloon. [5]