Typography Of Film Posters As A Tool Of Creating The Atmosphere Of The Film

Within this essay I will be exploring the idea that the typography on film posters can have a direct impact on the mise èn scene of a film. The term ‘mise èn scene’ is a French phrase, literally meaning ‘placing on the stage’. Within the world of film this is technically taken to mean the physical arrangement of props and scenery within the shot, as well as the framing and the camerawork itself. It often is used to emphasise the idea that every item shown within a film has been placed there with meaning and purpose, and within this essay I will explore the theory that this extends itself to typography, and the concept that typography on a film poster can conjure up an idea and theme of a film. When the mise èn scene is referred to within this essay that is to say the overall look and feel of the film itself, rather than discussing specific props and set pieces.

When considering the perception of a film, generally one would consider only this to include the time from which the film begins playing, to the end. However, it is important to consider just how important an effective film poster is when it comes to showcasing a successful film. It is the very first impression one receives of the work, and it must succinctly summarise the general tone of a film, in order for people to understand whether it is something they are interested in seeing or not.

Designers use various different techniques in order to suggest the mise èn scene of a film within the poster. When one looks at the overall composition of a poster, the text is one of the most crucial elements. There are certain pieces of information that must be included on a poster, such as the title and the release date, however many practitioners utilise typography in such a way which allows the text to go beyond being there for purely practical and informative reasons, and become a tool to create a cohesive visual design.

There are various different techniques to be seen when it comes to combining text and imagery. Some designers choose to combine the two in a more fluid visual response, allowing the text to become a part of the image itself. This allows for a design that both informs the audience and visually portrays the film itself. Using this technique creates a concise design which displays everything which is need within the poster, with no detriment to the visual impact. It means that there is no risk of the text and image combination becoming jarring and clashing with one another.

As well as the placement and integration of the text and image, the typeface itself is an essential tool to suggest the mood of the film. A softer more delicate choice of type could be used to reflect a more sensitive, romantic type of film whereas a bolder harsher choice could be used to suggest an action packed more intense film. Other aesthetic decisions that could influence this include the choice of case to use. A piece of text in upper case tends to reflect a strong sense of urgency, whereas lower case would represent much less pressure.

When one looks at a poster, it is important that there is a balance between the imagery and the text, that is to say it is crucial that one does not detract from the other so as to take away the initial purpose it is there to achieve. Posters are designed to inform from a distance, and pre-release of a film posters will often be seen blown up to a very large scale, for example on billboards. This means that it is vital for the text to be legible from a distance. To bear this fact in mind it is clear that if the text is too small, or the typeface is too complex and difficult to read, when looking at the poster one would quickly lose interest and move on for it would be too challenging to gather the information needed. For this reason, designers often choose to use simple typography, choosing to use other techniques to create a stronger visual impact.