The collage-like composition of the poster channels the visual culture that led up to Dada and the experimentation of typefaces and images of the Dada period.
The bold lines, bold typeface, and bold colors also draw from the Russian Constructivist movement. The incorporation of photography, geometric typography, and the diagonal orientation of design elements are all characteristics of Russian avant-garde graphic design.
The typeface used for the “Alouettes, Le Fil a la Patte” title resembles the hand-lettered texts that were used during avant-garde’s internationalism that spurred war propaganda.
The use of abstract shapes and lines, and especially the dominant use of red reflect the Communist’s beliefs and the posters created during this time to illustrate such values.
The point treatment of the photograph takes from the Pop Art movement. Photographic images, during this movement, were manipulated and “re-touched” to have a more playful look.
Geometric graphics and modern design, as developed and made famous at the Bauhaus, are incorporated into this film poster.
CAMILLE DEHNE