One great visual research reference was looking at film posters from 1989, the year the cinema was saved from closure but also looking at independent film posters as the picture house pushes independent and art house film.
The majority of the film posters from 1989 are generic as they all seem to include gradients drop shadows and warped type but I found some really interesting typographic approaches that I think have stood the test of time, the findings are as follows:
The reason I believe they have stood the test of time is because compared to the other poster designs these ones are more simplified. In terms of colour, layout and elements they're all toned down and muted in comparison to the outlandish norm of film posters from the late 80s. Yes the aesthetic still has that late 80s and early 90s feel but the typography helps instil a contemporary style that I personally like. The structured type of 'El Triangulo De Acero' is my favourite as its clean angles are shouty and when its paired with the bold red it contrasts well.
As the picture house pushes independent and art house films it was necessary to look at independent production film posters. But the range is far to broad so I looked at more contemporary design that relates to independent cinema. A great way to start this research was looking at Saul Bass who was probably the most influential man in cinema and design. The work he was producing wasn't exactly for independent cinema but nevertheless his work was innovative in terms of film posters back then and most likely still are. The first pieces of work I came across were his iconic film posters and opening sequences for big Hollywood films. And in each poster and sequence you can instantly recognize the 'Bass' aesthetic, with each design having bold expressive colour palettes and unique typography. What I like about the posters is that they remove the realistic sense from the film, if you look at film posters from back in the 40s, 50s and 60s they all seem to have realistic illustrations of the film stars but Saul Bass seems to introduce a more simplified approach with symbols communicating the film.
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