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Template:Non-free film poster is used to tag non-free film posters. This template must be placed in the Licensing section of non-free film posters to identify them as such. Note: Posters with US copyrights before 1964 are mostly in the public domain due to failure to formally renew the copyright on the poster. In this case the template {{PD-art ...
This template must be placed in the Licensing section of non-free posters to identify them as such. Note: Posters with US copyrights before 1964 are mostly in the public domain due to failure to formally renew the copyright on the poster. In this case the template {{PD-art|PD-US-not renewed}} should be used instead of this template.
This template is to help users write non-free use rationales for various kinds of posters as required by Non-free content and Non-free use rationale guideline. Include this in the file page, once for each time you insert an image of the poster art into an article. Please use copyrighted content responsibly and in accordance with Wikipedia policy.
This category is located at Category:Non-free images of film posters. Note: This category should be empty. The following categories are used to track and monitor this redirect:
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.
Icon used on "fair use" tags w:Template:Movie poster and its redirect w:Template:Movieposter for movie posters on the English Wikipedia. The movie in question is of course just a joke. The movie in question is of course just a joke.
This image is of a film poster, and the copyright for it is most likely owned by either the publisher or the creator of the work depicted. It is believed that the use of scaled-down, low-resolution images of film posters to provide critical commentary on the film in question or of the film poster itself, not solely for illustration
Charles Knight said that in Beer Street Hogarth had been "rapt beyond himself" and given the characters depicted in the scene an air of "tipsy jollity". [29] Charles Lamb considered Gin Lane sublime, and focused on the almost invisible funeral procession that Hogarth had added beyond the broken-down wall at the rear of the scene as mark of his ...