GRAPHIC NEUROSES: HOW WOODY ALLEN’S MOVIE POSTERS REFLECT HIS FILMS
by Brandon Schaefer
At first glance, one of the most visually distinguishable aspects of Woody Allen’s body of work rests with the title cards at the beginning of most of his films. The pattern is almost always the same: a black background with white lettering, set in Windsor Light Condensed. The credits are constructed and play out in a logic reminiscent of billing for a stage production, regardless of the picture. A crumbling relationship. A fictional character literally coming through the silver screen. Different stories bound together through a simple, straightforward approach designed to get the job done. An indifference to extravagance at the expense of time and effort, and instead an eye focused on what needs to be done to get not only the title-cards but an entire picture made. They are solutions without a need to appease the Gods of spectacle, an extension of the director’s personal philosophy.
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