Double Page Spread Analysis - Gods and Monsters

- In similarity to the Bond double page spread, the first thing the eye is drawn to it the feature article photograph. Most dominant within the photograph is, once again, the stories protagonist which indicates to the reader several things; he is alone in his quest, he is a strong warrior and the story/film is about him. The mise-en-scene of the image is that of a stereotypically masculine, with all the smoke and browny earthy colours. The reason I chose this double page spread is because the image communicates something that I will need to use in my ancillary task: that this is a period piece. Of course, it is not a romance but from the costume and smaller image, we know that this is set in an older period.

- The layout of the article is an interesting, interactive and new-take on the medium. The placing of the headline over two the two pages causes an integration of text and image that feels seamless and successful. Furthermore, the placing of the second smaller image gives the article an off-centre feel which shows that the film is not a traditionally structured, coherent one. Also, the second image does not demand the attention that the headline, stand first and feature article photograph demand as it has a much more muted colour palette with no direct-looking at the camera. Plus because of the size of the second image, there is more image than text which makes the double page spread feel more aesthetically lead and that the text comes second which would makes sense because this is, after all, selling a film.

- The typography is also effective because of the readable, traditional text that also includes enough variation of colour and size for it to have enough change and contrast. The two relatively small columns with sizeable text caters to an audience that may not want to read too-much of an article, as it is leisurely, therefore the two small columns deal with this issue. And the typography used within these columns is readable, clear, subtle yet seeming quite dramatic due to the boldness of the letters but also because of the extended nature of certain letters. 

Double Page Spread Analysis - Skyfall

- The first and most dominant thing about this double page spread, is the strength and beauty of the feature article photograph. It is interesting how the text image manage to work in synergy with each other with extraordinary effect. The reason the image works and is pleasing to the reader is because it plays with levels, perspective and the depth of field. By having three different depths (the actor, the car and the background) to the image means that the viewers have a clear sense of the hierarchy of importance. Not to mention the use of the rule of thirds makes the photo pleasing, further. Most importantly, with all this aside, is the fact that the image communicates the films essence extremely well. Bonds body language of confidence and elegance, in combination to the presence of a luxury car in a context of desolation and industrialism, means that the reader is instantly gaining a sense that the film will be a spy thriller that is gritty yet opulent at the same time.

- The layout of the article works as the text and image seem to work together and not in separation. Placing the text far enough away from the actor means that the viewer can understand that the character, Bond, is isolated. Furthermore, by placing the text just above the car gives the second page (the right hand side of the whole image) a feel of being systematically halved. This also makes the article feel less affronting or 'chunky'. The layout of the article itself is also effective because of the dominance of the articles headline. As Bond is a well-known franchise, the magazine can get away with placing the films title in a relatively small box, whilst making the headline about the films themes rather than the film itself. The way that the article itself and the articles tag line fit under the headline in three nice columns is also pleasing due to a continued theme of thirds.

- The typography also fits the brand incredibly well due to its clear, dark, bold nature. Seemingly, the magazines house style and bigger branding amalgamates itself with the branding of the film it is covering when creating the double page spread. This is a key move in creating a professional product as it means the reader, and potential audience member to the film, have a real chance to digest the film without watching a trailer or seeing the poster to it. Therefore, the overall mise-en-scene of the article is crucial. 

Poster Analysis Conclusion - Conventions

- The images are very important when creating a sense of branding and creating a positive initial impression with potential audience members. This means that the images should be striking, have a sense of narrative and have costumes in them.

- The font should be a readable, traditional font that conveys a sense of heritage and strong story-telling.

- The font should be placed in parts that may have negative space.

- The poster should have the small print at the bottom or top as it feels professional and fills space that would be otherwise unused.

- The colours, in general, should not be too gaudy or demanding. 

Poster Analysis - Pride and Prejudice

This poster, once again, uses yet changes conventions. Most film posters either use one strong image or merge many film stills together in order to make a strong poster but this poster uses two separate images collaboratively to create a strong poster.

The image of the stories two protagonists is definitely, for me, the aspect of this poster that sells the film the most. The framing of the image uses the depth of field to create a sense of drama and importance in these two characters because the female lead is larger and looking tranquil whilst notorious Mr Darcy is approaching, looking stern and occupied. The reason that the image below works coherently with the one above is because both are using only sunlight and have the same tan pallet which makes them feel like they're taken at the same time of day.

It also feels important that the images are broken up by the text instead of the text working on top of the images. Like the other two film posters, it uses a traditional, easy-to-read font to convey it's necessary sense of timelessness and romance. In fact, the logo doesn't so much look like a logo as much as just two words typed together which works because of how understated and notorious the story is. Once again, heritage of the stories are a selling point. The names of the actors are equally understated and, seemingly, unimportant to the overall impression of the film and its poster.

The film uses the conventional small print that gives out important information about the films production such as the director, producers and script writers. However, in scale to the images and other texts it feels slightly smaller than usual and slightly unreadable. To a certain extent, though, it isn't so much the point to read this section of the poster – it is more the fact that it is just there.

Poster Analysis - Far From the Madding Crowd (2015)

The most recently released of the film posters I have analysed, 'Far From The Madding Crowd' takes a very minimal approach compared to other contemporary film posters. Just because it is minimal though, does not mean that it is interesting or successful in getting people to see the film.

The striking thing about this poster is the fact that it is composed on a single image that exaggerates the natural setting of the rural film. It is mainly striking because the image has been edited in a way that is rather muted due to the fog whilst using the couple kissing as a central thing to look at. Interestingly, the figures almost merge into the background and fit seamlessly into it.

However, they also stand out because the colours red and blue are distinctly different from the greens and browns behind. Most effective is the fact that the pose of the couple implies heavily that they are having a romantic entanglement. This combined with their background is connotative of secret relations because their location is isolated and alone.

The placing of the title directly above the kissing couple means the entire poster feels centrally aligned which fits into the middle-third and feels visually pleasing. This is exaggerated by the fact that most of the text, apart from print at the top and bottom, is in the centre either above or below the couple

The font used throughout is also effectively grand, traditional and in-keeping with the sense the period drama needs. By using a font similar to 'Time New Roman', the poster creates a sense of heritage, it is after all based on Thomas Hardy's novel of the same name. I also like the way that the logo to the film plays around with the size of the letters and formulation of the words whilst remaining understated and classy.

It is important for film posters to have the names of its stars on it, in order to sell the film. Like most things in the period drama, even the actors names feel understated because of how high up and small they feel. Even though the names technically break the using of the middle third, the names are still centrally aligned and equally separated to give the looker time to process them.

Overall, the poster conveys everything it should. It conveys that this is a love story, that this is a period drama and that this will be traditional. In my opinion, this is mainly because of its minimality and its elegant placing of words on top of a simple yet complex striking image. 

Poster Analysis - Anna Karenina (2012)

Interestingly, this is possibly the most detailed and cluttered period drama film poster I have, personally, ever seen. The poster could feel cluttered or 'busy' due to the fact that it is built up of many layers that mix characters with texts and backgrounds. The content does do what every poster should do, though. It gives us a serious sense of narrative, context and character relations. To expand:

- The main background with it's dark colours, smoke and buildings have a connotative sense of opulence, due to the chandelier, but also an industrial sense because of the silhouettes of horses and trains. Subtly, Russia's famous building the Kremlin has been used on the left side in order to imply the films context – Imperial Russia. This background, then, whilst seen alongside the main characters costumes certainly confirms to the prospective viewer that this film is about aristocratic relations in a, now, historic setting.

- The proxemics of the characters are also key to the success of this poster in relating to viewers that this is a period drama and, perhaps most importantly, a romantic one. The fact that the films main lovers have been placed centrally in a, rather, dramatic position of lust and longing confirms thar this story will be about two characters falling in love. The lone presence of an older male to the left of this couple also implies that there is going to be some conflict involving him as he is smaller and angled at a way that conveys hostility and presentation.

- Most subtle, though, is the fact that the lower poster is trimmed with footlights and a theatre-like border. Historically, Imperial Russia is known to have been an artistic flourishing time for both literature and theatre due to pioneers like Tolstoy, the writer of Anna Karenina. This influences the way that the film was filmed as director Joe Wright uses a post-realist perspective that uses the sets of a stage to navigate the story. Due to this, the bottom-border is a preview to prospective viewers how the film is cinematographically composed and of its larger themes.

In my opinion, though, the most effective part of this poster, apart from impressive composition and implicative choices, is the text. First of all, the typography is clear, concise and readable. As the poster is already quite 'busy', the text is not over-the-top or too complicated in order to not confuse the viewer. Furthermore, the text is conservatively bold and flat which means it jumps out of the page and is followable.

A way that this poster challenges convention is the way that the posters small print is not placed at the bottom, instead it is placed just below the films title. It does, however, follow convention because it follows the classic layout of making the names of production companies and the people involved larger than their titles. This makes the poster look professional and integral. However, over all I think the poster is slightly too-much because of how many visual things there are and I believe it should be stripped down more, like other period drama posters.  

Short Film Analysis Conclusion - Conventions

At first glance, it could be considered that the period drama and the short film are at conflict. This is because traditional love stories that period dramas explore seem to demand strong character establishment, a longer plot that allows the viewer to go on a journey that finishes and the promise of being transported back in time. Whilst the short film seems to use less established characters, less conclusive plots in situations that can be deemed as 'relatable'. However, the period drama short films I have studied have showed me that it can be done very well if:

- Establish characters subtly yet firmly. This means your characters should be archetypal, IE a married woman, a dominant male, a maid, a servant, a vicar.

- Settings should be gripping and interestingly shot.

- A good variation of scenes that are of a good length, in order to allow the drama to develop properly.

- Dialogue should be clear and should add to the drama within the piece whilst implying to a larger diegesis.

- Short films should stick to a simple formula, where one dramatic event is solved throughout.

- Instead of connecting to many characters on screen, like during a feature length period drama, you should attempt to have the viewers connect to only one character – your protagonists.