JOURNAL ARTICLE

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  • Published In: Sight & Sound, 2026, v. 36, n. 5. P. 15 1 of 3

  • Database: Academic Search Ultimate 2 of 3

  • Authored By: SAER, TOM 3 of 3

Abstract

The article focuses on the use of celluloid film imagery in the marketing of metafictional films about filmmaking, highlighting how physical film stock was visually emphasized in pre-digital movie posters. It discusses notable examples such as the 1963 semi-autobiographical film *8½*, represented by Igor Maistrovsky’s design merging the filmmaker with film strips, and Waldemar Świerzy’s poster for *Sunset Blvd.* (1950), which uses film strips to symbolize the protagonist’s fracturing identity. The article also references Andrzej Pagowski’s surrealist poster for *The Purple Rose of Cairo* (1985) and a 1960 French poster for Buster Keaton’s *Sherlock Jr.* (1924), both of which creatively incorporate film stock to reflect themes of reality and fantasy in cinema. These designs illustrate how celluloid served as a powerful visual metaphor in film marketing before the digital era. [Extracted from the article]

Additional Information

  • Source:Sight & Sound. 2026/06, Vol. 36, Issue 5, p15
  • Document Type:Film/TV Criticism and Review
  • Subject Area:History
  • Publication Date:2026
  • ISSN:0037-4806
  • Accession Number:193633665
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