Final Poster

Final Magazine

Magazine Cover Audience Feedback

Magazine Construction 3

The final magazine construction changed the following points -

• "Featuring" was added underneath the title in the same type face and style in order to both adhere to the genre and make the writing on the cover more evident that it is part of the magazines features.
• A date and price were added - originally these were theorised to go at the top in yellow, but I found the contrast in colours displeasing and the placing of them to derive from the most striking area of the cover. As such, they were added to the bottom. 
• Puffs were added, drawing upon the Little White Lies tradition of having them framing the face of the main image, both in order to not detract from the central art and to draw attention to not only the main feature. Due to my target audience being those who enjoy cult cinema, reference to films such as "Drive" (Enticing Nicholas Winding-Refn fans) and Nightcrawler (Attracting a more modern audience) would increase audience interest in the magazine. Originally, the puffs were to be the same font and colour as the date and time, winding around the head in a sort of Halo arc, however, this was not continued due to the aesthetically pleasing nature of the final choice.
• A title was added, utilising the dichotomy of the word "Two" in presenting two colours with the varying backdrops of white and black, connoting good and evil. The title has a marble overlay which is shown below, and an inversion of colour was used to transform it from light to dark blue.

The final poster, including all mentioned above.

The originally attempted puffs

The original placing of the date and time, not used.

Poster Construction

The production of the poster went as follows - a draft had already been made and as such there were not many difficult decisions to be made.

• The main image was the first thing which was made, first off using the rectangle tool and duplication tool in order to make the lines - adding an outer shadow and black stroke in order to provide depth. The main image was then added, overlaying him over every one of the lines and then duplicating from a different image the gun coming out over the edge. In order to blend the two images the same thing was done as mentioned in a previous magazine post, with an entirely transparent rectangle being overlaid on to the two layers. This was then corroborated through the use of stocks downloaded off the internet, all of which can be seen below. Finally, concerning the main image, the city shot was used, being the same as that previously spoken about in my magazine cover post. 

The layers which are shown here can be explained as such; the Layer 5 and Layer 5 copy are the aforementioned internet downloaded stocks, with Layer 20 also being this. Layer 11, 7, 8, 9, 18 and 19 are all used in order to give the image depth through blur and FX as well as allowing the hands and gun to be found outside of the rectangles. Further down, the image labelled Act 1 is named so due to it being taken from our trailer through the "Save current frame" option in Final Cut Pro. This and then the background image (Layer 1 copy 4) are overlayed on Layer 2 copy 4 which is the merged under layer of the rectangles. Click the image to enlarge. 

• Following the making of the main image the titles were then made, consisting of the film title "Two Evils" and the release date, "August 2015". The same effects were used on both of these, utilising a black colour overlay with a red stroke and black drop shadow to add depth. They were placed around the outside of the gun to link the danger associated with firearms to our main character and the moralistic suggestions that the title has. The certification was a stock photo taken from the BBFC website and given a transparent background through the use of the magic wand tool.

• The completion of the right hand side of the poster was done in the addition of a slate, critics views, awards and actors names. The actors names used the same font effects as the title, while they used a bold version of the type face used in the "August 2015" font shown above. Above this, the critics reviews consisted of the same type face once again except with a black overlay and placed next to stars taken from a stock image website and given a black overlay. Finally on the right hand section of the poster, the slate used the cinema type face along with the media trope of mixing all capitals and all lower case in order to highlight important names and companies. Below this, the social media logos were taken from stock websites and google images, and placed next to colorised links to our Facebook, Instagram and Twitter pages which could then be followed post-viewing of the poster. 

• The final section of the poster came in the form of the tag line, first presented within the trailers narrative graphics. Again using the same type face as the title, "When you are caught between two worlds… Which way do you turn" is an all capitalised tag line rotated 45 degrees anti clockwise. It can be seen below.

Magazine Construction 2

Many developments were made between my previous construction post and this one due to my focus being on producing poster development posts. A list of improvements can be found below, with exemplar images at the bottom of the post. 

• The title was made bigger in order to fit the space at the top and provide a more eye catching spectacle, with the tag line being changed from "Definitive movie reviews" to "Definitive Move News and Reviews" in order to promote a more journalistic based criticism instead of just a media-critique magazine. 
• The image and beard were replaced due to the spots on Gabriel's head in the previous image, and through the use of the spot healing tool, were removed. The image and false beard were then merged in to one layer in order to make manipulation easier. The new foreground layer was duplicated twice; the first duplication had the cutout effect added to it and then lowered the opacity to 80% in order to provide the detail of the real life face but the artistic intention of the filter. The second duplication was placed underneath and enlarged by 0.1 in order to provide an outer glow which the simple outer glow effect found within the FX tab couldn't provide. 
• A barcode was added, simply through taking a stock photo from a google search and placing it in the bottom left hand corner.
• The main image looked relatively out of place with the three different versions of the same layer clashing in some parts. In order to overcome this I created a rectangle and placed it over all three of the layers, colouring the rectangle the same shade of teal as I did the title, and changing the blend mode to hue in order to provide a limited area colour correction and blend the three layers together. Not only did this blend the entirety of the three layers but also allowed the beard to look more in place.
• Finally, two separate images which were taken when I was on the south bank were blended, with both reflected a 75% opacity and gaussian blur at 5 pixels. This provided the perfect, stylised backdrop for the magazine cover and increased the idea of anonymity within the city, expanding upon Barthes enigma code. The image was much more subtle than the stock photo which was used prior to that, also shown below. 

The revised tagline and enlarged title

The rectangle which was used to blend the three layers and beard

The second draft of the poster, only now requiring a title and puffs

The highly colorised photo of myself which was not chosen to be in the background of the poster.

Magazine Construction 1

Starting off on my cover, my previously mentioned influence in Little White Lies and ALA-Champ will have a major effect on the way in which the magazine comes out. Starting out, the masthead was the most intriguing thing for me due to the decision to make the background black. I wanted to create a neon-styled title which reflected my film, and did so as shown below. 

Using the neon type base, the following effects were used in order to present the blue glow and the depth which creates the verisimilitude of the title. The top layer is the one which is seen on the foreground of the above image, with the one below providing the depth to the text, utilising a Gaussian blur and 15 pixels. This shadow gives the title depth in my opinion, something adding to the professionally aesthetic title of the magazine. Following this I added the main image through the Photoshop RAW image editing software. Not changing much apart from the saturation of the image, reducing the contrast and heightening the vividness of the colours in order to again provide depth, the image was taken on a digital SLR and originally with a white background, although after importing I used the magical wand tool and inverted selection in order to remove this and allow a transparent background. It was found, however, that the image chosen had our protagonist looking considerably younger than we wanted him to, and as a result utilised the brush tool in conjunction with the brush presets in order to give him a beard and make him look older. Examples of this can be found below, providing the look of my magazine covers first draft. 

Institutional Analysis of Sight & Sound

CM

Institutional Analysis of Little White Lies

The publisher of the magazine Little White Lies is TCOLondon. This is a company which specialises in slightly off the wall, individual and quirky takes on stories which would not usually get views, or angles on films which are not usually assessed. The very branding of the website (www.TCOLondon.com) as shown below differentiates itself from other forms of media by defining itself as a breed, something which is lifelike and ever evolving. From work in skateboarding, phone companies, games consoles, and sponsoring YouTubers, their list of partners ranges from Grolsch to Audi. This shows where the inspiration for Little White Lies comes from, as well as why the company decided to back such an out-there product. Even within their distribution, with Little White Lies originality being an online-only magazine, they establish themselves against the norm and through this use of technology cater to a specific audience.

This audience is that of 18-30 year olds who are either young professionals in or students of media. They must have significant disposable income because of the monthly subscription of £3.95 for a product which, looking past its potential as a collectable and art, provides less than a week of entertainment. This suggests than that like Empire and Sight&Sound, that the demographic for the company is ABC1 and massively involved with South East London promotions. This is done in the Barbican, BFI and Picturehouse cinemas' and film festivals which caters to the sort of indie film buff audience with disposable income. The benefits of this are found within independent and cult cinema fans who would rather discuss films as an art form rather than just passive entertainment. The magazine caters to independent critics and in depth interviews with cast, directors and producers in order to help their readers form opinions upon the films they cover. 

The magazine, along with others' of its type, use mosaic geodemographics in order to establish the type of person their product is going to cater towards. An audience segmentation can be found below. This shows that the majority of the audience is found within London based Hipsters which falls under the magazines demographic of Group O buyers, standing for Urban Intelligence that 'Mostly consists of young and well educated people who are open to new ideas and influences'. It also caters to audiences such as Group E, young people who have gone through higher education and can be liberal of idea, and have access to disposable income. It caters to this audience through claiming to be about truth which connotes authenticity. Because of this, the more niche audiences of Arthouse film fans and Aspiring filmmakers are also catered towards, while more mainstream film fans and design students are left to read magazines like Empire and Total Film.

The purpose of the magazine fits with the publisher's slightly independent style of reporting. Even from the weight of the paper the magazine feels like a substantial product, filling a gap in the market for collectors items concerning film, which is then corroborated through the hand drawn/graphically modified artistic style of the covers (Of which they employ independent designers) and the typography of the front cover. The choice of film is also essential as to its purpose, and in turn the sorts of audience which are going to read it. Taking up yet another niche gap in the market, focusing on films such as "Black Swan" and "Let The Right One In", they decipher films which are not only in between the mainstream and indie genre but also those which are going to obtain a cult following. Due to this, in combination with the subtle yet aesthetically pleasing cover which screams that the magazine producers know their movies, the magazines' purpose is to fill a gap in the market between Empire's mainstream coverage and Sight & Sound's more individual movie coverage through an artistic and bold cover, substantial page thickness and quality which would leave you wanting to show your collection off to your friends. 

Sight & Sound "Cosmopolis" Magazine Cover Reasearch

CM

Empire "Bourne Legacy" Magazine Cover Analysis

This is a piece of analysis on one of 'Empire Magazines' front covers completed using the Photoshop software on the Mac: 

MT

Little White Lies "Attack the Block" Magazine Cover Analysis

Film Poster Research - The Conjuring

Connotation - The significance of the Rope hanging from the shrivelled tree in front of the large 'haunted' looking house introduces the horror/thriller genre. The rope connotes death, which will obviously play a major part in the film and links together the idea of death and haunting, which again is a major theme of this horror movie. The black block letters spelling out 'The Conjuring' placed against the mirky white background of the sky also connotes this idea of good vs evil as shown through the contrasting Black and White. Death is the major theme present on this movie poster and this is backed up by the image of the shrivelled tree, which represents the loss of life and hope, which are again major themes of the film itself.  After looking at the poster, we as the audience, undoubtedly understand the message of the people who created it through connotation.

Anchorage - "Based on the true case files of the Warrens" - This certainly effects the way the poster is viewed as an audience member and is often used in Horror Movies to attract the audience and cause them to feel more scared of the events in the film itself. This causes the audience to be more likely to believe the events in the film and thus feel terrified when watching it. It is important to put this on the film poster itself as it will attract more people to watch the film at the cinema when it is released. "If it is based on a true story, the film instantly becomes more scary" - This is the idea behind why this line is placed on the movie poster.

Tone and Register - The tone of the poster is clearly one of death and decay as shown by the shrivelled tree and the old wooden built house in the background. You know straight away that this is a poster promoting a horror movie due to the dark undertone, as shown by the central hanging rope representing death.

Intertextual references - "From the Director of Saw and Insidious" - lets the audience know what type of film they are likely to be going to see as they can base their opinions on these previous films mentioned. This certainly attracts the audience to watch a certain film, because if they enjoyed either, 'Saw or Insidious', then they are more likely visit the cinema and watch the film. The institutions are also referenced, which is also important as the audience will familiarise themselves with these well known institutions and perhaps be more likely to go and watch the film. 

Target audience - The intended audience for this movie would undoubtedly be horror movie fanatics or people who are looking for a thrill. It is mostly aimed at an audience between the ages of 15-23, who are more likely to travel to the cinema with a group of friends or even a date to watch a scary movie. Judging from the poster, the target audience would be more likely to be a male audience between the ages of 15-23 as they follow the stereotype of, 'Being harder to scare'. Having said this, a female audience is still targeted, but the focus for most horror movies is usually placed on the larger male audience as they will often bring a woman with them to watch a horror movie.

Representation - the poster clearly plays on the stereotypes of most horror movies, with the large bedraggled house in the background representing this idea of a haunted house and a family being haunted by an unknown presence as represented through the image of a shadowed figure in the foreground of the poster. Despite the clear representation of death on the movie poster, the small glimmer of light appearing over the top of the house could be seen to represent this idea of hope and that good will prevail.

Effect and Effectiveness - This movie poster is undoubtedly successful in getting across the genre of film through the images it presents the audience with. It is evident that it is a poster promoting a horror movie almost as soon as you glance at it, due to the choice of images (large house, rope, tree) and the dark, almost gloomy colour chosen for the background. The poster could possibly be more successful if their was a phrase or line inserted to attract the audience to think in more depth about the poster and in turn create a wider audience for the film. However, in terms of attracting an audience, this poster is certainly effective as it attracted me to want to travel to watch the film.


MT

Film Poster Analysis - Road to Perdition

Connotation - The visual image of the father and son wearing similar clothes and holding hands connotes this idea of a family bond, which is central to the main theme of the film itself. Tom Hanks holding the Gun and the shadow covering half of his face suggest something different and create mystery around the poster. This links into the Film Noir style that the poster is clearly trying to connote. The rain splattering across the poster also creates a powerful image. You can almost hear the rain, which connotes the idea of the family bond as aforementioned being broken, which is a major part of the film, due to the fact that the son witnesses what his father (Tom Hanks) does for a living. The film noir style of this poster is certainly shown through all the visual images presented to the audience. (shadowy image of Tom Hanks character and his son with the street lights in the background).

Anchorage - The Anchorage, despite being minimal in terms of actual text on the poster, it is certainly effective in that it almost gives reason to the picture of Tom Hank's character and his son. "Pray for Michael Sullivan" suggests that Tom Hank's character will experience many problems throughout the trailer and with the words placed above the 'Tommy Gun' again suggest that the problems he will face will be particularly dangerous. The Bold Gold text spelling out "Road To Perdition" also heightens the situation, which is clearly shown through the image in the background. It gives a sense of importance to the two characters on the poster and almost forces the audience to notice the bankable actors names just above the title of the film.

Tone and Register - The tone on this poster is certainly quite dark and mysterious as shown by the Film Noir style. The long coat and trilby hat working in collaboration with chiaroscuro effects undoubtedly create a mysterious tone and link with one of the major themes of the film itself, Betrayal. The Dark tone is accentuated by the shadow image of the Gun in the bottom left hand corner and the rain splattering across the poster. They work well to create a moody atmosphere and link in with the text as aforementioned.     

Intertextual References - "from the director of American Beauty" - This informs the audience on the style of film they are looking at and might create a wider audience as fans of that particular director might want to see the film for this reason. The institutions are also placed on the poster to again attract the audience to see the film as they would recognise the companies producing and distributing the film.

Target Audience - The target audience for this film is certainly focused on the larger male audience. This is because Tom Hank's character is clearly a father figure, which would attract a male audience. Also, it is clearly a gangster style movie as clearly shown by the 'tommy gun', which again would be seen to please the male audience more. However, the theme of family values as shown by the two characters holding hands, could attract a female audience. Woman may also be attracted to watch the film by the names of some of the stars featuring in the film, such as Jude Law. However, the film is clearly aimed at a larger male audience.

Representation - The dangerous world of gangsters is clearly represented through the dark imagery of the father holding hands with his child whilst holding a 'tommy gun' in his other hand. This could represent the fact that once someone has become involved in that lifestyle, then everyone around you becomes affected, even your children. It's particularly powerful as the innocent image of the child, who appears to be dressed in a similar way to his father, has been caught up in the dangerous lifestyle of his father. The fact that you cannot see the boys face is also powerful as it represents this image of a loss of hope, which is counter-acted by the shining lights in the background of the image.

Effect and Effectiveness - This poster is undoubtedly effective as clearly shows the major themes f the film itself, which are Family Values and Betrayal (Shown by holding hands and Gun, coupled with film noir style and the rain).  The anchorage is also effective as it enforces the themes of the movie, by implying that Tom Hank's character and his son are on their own in the movie and have little help from the people around them.

MT

Film Poster Analysis - Hummingbird

MT

Film Poster Research - Zodiac

CM

Film Poster Research - Raiders of the Lost Ark

The iconic whip, as well as a sword and gun, suggest that this is a film involving a lot of action and adventure, with the imagery of the Ark and temple bring in the idea of antiquities, archaeology and ancient civilisations. This is also suggested by the golden colouring of the poster (emanating from either Harrison Ford or the Ark), which suggests value to the artefacts and lends even more of the adventuring atmosphere. The numerous faces and their expressions connote various things about their characters, such as the 'damsel in distress' figure of the dark haired woman, or the shadowy ominous figure of the bespectacled nazi. These faces, the weaponry, the stance of Ford, the snake, the burning at the stake image, and the imagery of archaeology, all paint 'Raiders of the Lost Ark' as a proper, adventurous, thrilling outing.

'The Return of the Great Adventure' is an interesting strapline as it both suggests a harkening back to an older style of cinema, where adventurers and goodies vs baddies was more common, but also a new spin on the style, which could appeal to both older and younger audience. The title is reminiscent of an old comic book title or of a Douglas Fairbanks Jr film, as well as being exciting and intriguing, which links back to the idea of a 'revisiting' of the adventure genre.

Harrison Ford, with his buttoned down shirt, active stance, raised weapon, and Eastwood-esque headgear, is the classic adventure hero, fending off the heinous nazis with one hand back to protect both the story's heroine, and the Ark. The tone of the poster is thrilling and action packed with a lot to take in, whilst still retaining an emphasis on the characters and features of the film itself. The nazis are all straight-faced and solemn, a sense of formality surrounding them and contrasting with the not-altogether-groomed look that Ford is sporting, clearly painting him as the anarchic and free thinking hero to battle the authoritarian nazi antagonists. The tone of the poster is compliant as such, with a playful and fun spirit behind it that is combined with the thrilling and active imagery of adventure.

There is reference to the older genre of adventure films in the poster, and many of its hallmarks are drawn on. Obviously nazi and obviously middle eastern figures appear, a feature of the more conservative nature of earlier Hollywood cinema, and the poster's style of art and arrangement is distinctly evocative of film posters of that era. 

The film is obviously directed at a younger male audience, with the poster featuring stereotypical 'hero' and 'damsel' figures, and presenting a sense of morality that is simpler and more 'black and white'. The attractive female and aspirational male are obviously directed at a certain gender. In terms of age, the genre would traditionally appeal to younger consumers, although there is an attempt to be more 'catch all' in the revisiting of an older genre and the angle that that is directed in. 

In terms of representation, all but one of the figures appearing on the poster are men, all but two are white, and all but three are white men. The woman is in a submissive, frightened pose that depicts her as the 'damsel' figure who needs protecting by the manly Ford. The two middle eastern men on the poster are not central to the plot particularly and can thus be viewed as having been put in the poster as 'curiosities' to make the film seem more exotic or adventurous. This, paired with the depiction of the evil nazi German antagonists could give an air of xenophobia to the poster.

The poster is very effective at conveying genre and character through colours, figures, and imagery. It draws in a wide audience with promises of excitement and adventure whilst remaining a sophisticated and eye catching piece of advertising.

CM

Film Poster Analysis - Sin City; A Dame to Kill For

Varying aspects of the poster for "Sin City; A Dame to Kill For" pose many questions as to the connotations of the film as a whole, as well as the poster. The lack of colour, not only typical of the previous instalment of Sin City, also draws contrast between the black and white figure of Mickey Rourke in centre shot. The contrast can suggest a variety things, some of which include good VS evil, old VS new and the abundance of the two opposites of the colour range suggests conflict. It is commonly perceived that an excess of white can be viewed as cold, harsh and isolating which is emphasised through the implied danger of the gun and remoteness of Mickey Rourke. Barely visible is a necklace holding a cross around his neck, which bears implications of religion, hope, and forgiveness even when juxtaposed with the dismal, apocalyptic feel of the black white and red poster, showing rain in the background and Rourke's menacing figure in the foreground.

The anchorage of the poster, although minimal, has a great effect on the viewers understanding of the poster. With the sequels title, "A Dame to Kill For", it not only gives purpose to the isolated, strengthened looking character who dominates the poster but also suggests varying characteristics associated with him. Although portraying him as violent, it also suggests a passion, with both characteristics being highlighted through the use of red in the text alone. Without the text, one would imagine a comic of some sort set late into the 20th century, however with the text we realise not only is it set much later than imagined but it is also a film, Frank Millers attempt to out do his previously acclaimed film.

The tone of the film, portrayed through the poster, is obvious. With the comic book style of the cover combined with the knowledge that this is Frank Millers Sin City sequel, one can tell that the tone will be desolate, isolated and violent, possibly taking the same bleak and apocalyptic colour scheme of the first film in order to create a similar atmosphere. With the majority of interaction between humans being non-verbal, the image paints a vivid picture of what the audience is to expect from the film, with the baggy leather coat, low cut shirt and hefty shotgun slung over one arm painting a sinister and action filled picture. The register of the poster is also important, with the specific use of the word "Dame" instead of woman, girl, wife or any of the other options which could have been used. Being the female equivalent of a knighthood, a sense of importance is portrayed, which is reiterated through her being distinguished from other Dames as "To Die For".

There is one intertextual reference, with "Frank Miller's" being placed above the title, linking it to the previous Sin City Film. This has the effect of drawing in an audience which enjoyed the first film, which is a large proportion of action film fanatics due to it being considered one of the best action films of all time. The accompanying poster to the previously shown features Jessica Alba, boasting a high valued cast and implied sexuality on top of a previously standing legacy. This increases the target audience from action fans to fans of Mickey Rourke, Jessica Alba, and star studded line ups featuring both old and new stars. Appealing to mainly a young audience, the use of Rourke, Willis and Liotta also appeals to the elder, traditional action/adventure fans.

The poster displayed is very effective. Whether this is because I am the target audience, or because of the poster its self, it makes me intrigued to watch the film as not only a Sin City/Frank Miller fan but also an appreciator of good film. Maintaining the comic book style of the previous posters and expanding on them in the new film has kept the films previous reputation while inducing new audiences who would not have been previously interested.

Film Poster Analysis - Welcome to The Punch

JL

Film Poster Analysis - The Godfather

The colour scheme of The Godfather poster is typical of films of the genre. The use of null colours, with no texture nor shade in combination with the contrasting reds, whites and blacks suggests conflict between two clear cut sides of a strife with the blood red shade of the mans face emphasising this. There are also suggestions of old vs new, again highlighted by the contrasting colour scheme of the poster. The elder is seen as more powerful, due to the use of puppet strings over the title of the film. Puppet strings are often shown as signs of manipulation and power, both themes central in the previously mentioned film. There are alternate posters for the film "The Godfather", one of which showing a shaded character with a rose in his pocket. Of a similar colour scheme and nature of this poster, we can also reference the connotations of the rose in film. Showing passion and an ability to love, but it is also commonly viewed that roses have a more negative connotation, seen from their thorns. Again representative of the film, something beautiful and powerful can also have a dark side and being the only object of the colour, this darker side is emphasised. Finally, the lack of clarity and definition of the poster reflects the film itself, with hierarchy's of power constantly being challenged.

The anchorage of this poster of "The Godfather" is of major importance for a first time viewer of the film. Without it, one would imagine a comic book, possibly of Marvel's darker section with the black and red dominating the poster. With the text however one realises that the poster actually represents a film, shown through "Paramount Pictures Presents" which not only shows the poster as advertising a film but also attempts to entice fans of the production company Paramount to see the film. There are also connotations in the text of the poster, with "The" godfather suggesting an unparalleled power, and a godfather which everyone knows about. The word "Godfather" itself has previous Mafia links and is reflected in the film, however it also suggests a link between the viewer and the Godfather, enticing the reader further. Finally, the font of the poster title seems expressionistic yet clean, again reflecting the contents of the film.

The tone of the poster, and in turn film, is a dark one. With the dominating colour being black there is a negative and sinister tone suggested through the colour scheme. There are also suggestions of conflict and blood through the blood red colour of the dominant figure in centre shot. There are also levels of formality which are implied through the poster, as previously mentioned the use of "The" instead of "A" or an alternate phrase suggests a familiarity and power which is unrivalled. Through the facial expression and positioning of the man in centre shot, we can also see that the poster takes a dejected, solemn tone which again is reflected in the colour scheme.

There are no intertextual references as such, however the "Paramount Pictures Presents" takes part of the viewers focus away from the poster and to the production company. This becomes more and more important in the two sequels of The Godfather as it links them to the previous films through title and production company.

The target audience of the poster is relatively obvious. The dark, sinister use of black and red with the film being an 18 itself closes the target audience off from the bottom end of the most typical film market (15-24) and opens the film up to more adults, suggesting a maturity about the film and connoting themes which only the elder generations can understand. It is also directed at a primarily male audience, with the person in the position of power in both the title and poster being a man. It also sells itself to a fan of good film, with a minimal poster suggesting the majority of the marketing to be done in hype around the film itself.

There are no obvious ideologies in the poster, simply due to the lack of character definition in the poster and the null colours. Through knowing the film, one can suggest that through the lack of vibrancy and emotion in the poster the gang/mob life is looked down upon as not always coming out on top, which is slightly emphasised through the facial expression of the man on the poster.