The Art of Fear: An Exploration of American Horror and Thriller Films in Polish Posters
An exploration into the visceral, shocking, and visually stunning posters for the films that are known to incite fear and unease in the audience.
INTRODUCTION
This exhibit containing Polish posters for American horror and thriller films aims to explore the relationship between imagery and the reaction it has on the viewer. In order to fully appreciate and understand the complex nature of these posters, it is important to view them with careful attention to both the content and the context of the piece. The exhibit will focus on the imagery and visual symbols utilized in horror and thriller films, as well as the overall effect that deliberate artistic choices have on the viewer.
HISTORICAL ROOTS: THE ARTISTIC INFLUENCES OF THE COLD WAR AND THE COMMUNIST REGIME
At the end of the 19th Century, Poland was not yet recognized on maps as a sovereign nation. Rather than existing as an independent country, Polish territories were split and controlled by Russia, Austria, and Prussia. Warsaw, placed under Russian rule, became known as the largest economic, trade, and industrial center in Poland. Krakow, under the far less oppressive rule of Austria, became a breeding ground for artistic and cultural life. This capital of the nation was populated by writers and artists who had traveled extensively through Europe, and thus were familiar with modernist cultural trends.
During the Cold War, American “publicity materials” were banned from Poland, so Polish artists were often not able to view the films for which they were designing posters for. What became known as the “golden era” of film posters began at the end of the 19th Century and carried on throughout the 20th Century. This era of globalized entertainment led to movie posters looking the same in every country, with the exception of the Polish posters. The Polish School of Posters artists were trained in designing posters that reflected individualized versions of movie posters for an internal market, as opposed to a global market. In Poland, the eighties marked a time of strong opposition to the increasingly oppressive Communist rule. During the Communist regime, Polish posters were often the only colorful thing on the street, and subsequently became a staple of Polish life and culture. In essence, Polish film posters serve not just as an inspiration for young artists and a testament towards cultural heritage, but also as a historical lens that reveals how Poland adapted to ideological constraints.
THE BIRTH OF POLISH POSTERS
The poster was born in France after the invention of color lithography. Influenced by the French's artistic achievements, Polish artists chose the poster as their medium of expression. The poster soon became known as a well respected and acceptable form of art. The Polish Poster came to be in the 1890s through painters. Initially, the posters were intertwined with classical art and announced theatre and ballet performances as well as fine art exhibitions, but this changed at the first international exhibit of the poster, held in Krakow in 1898. Organized by Polish-Russian architect Jan Wdowiszewski, this exhibit explored the power of the poster to act as a reflection for society’s way of life. The posters included in the exhibit reflected Western trends and influences alongside promotion of national style, something that was indicative of political independence. In these posters, modernist styles like cubism were combined with more traditional elements, such as natural symbolism and folklore. Poster artists used a direct and visual language to communicate with the viewer, wielding the poster as an opportunity to utilize artistic expression to its fullest potential and create something inherently new.
After World War II, the Propaganda Poster Studio was established in Lublin. Run by Polish painter Wlodzimerz Zakrzewski, the studio was tasked with devising graphical rules to create a method for creating posters. They introduced a new visual language, pairing colorful imagery with patterns and styles borrowed from Russian art. The Propaganda Poster Studio signified the first time that poster art was institutionalized in Poland, and would eventually lead to the Polish Poster School.
The fifties and sixties would become known as the “golden age” for Polish Posters. The Stalinist rule was lifted in the mid fifties, leaving ample room for artistic expression. Artists were able to work outside of the commercial constraints of a capitalist economy, leading to a poster school that was vibrantly diverse in terms of design. Film Polski (Polish Film) and Centrala Wynajmu Filmow (Movie Rentals Central) were the main institutions that commissioned poster artists and designers. They produced posters that showcased powerful imagery inspired by films, while still lacking star headshots, movie stills, or any direct connection to the film title. The general theme of Polish film posters was a blatant disregard for the demands of big studios, and the ability of artists to create posters that were more akin to fine art than commercial art.
EXHIBIT THEMES
The overarching themes of this exhibit explore the form of the posters and the specific creative choices made by artists. One of these themes is the different ways that typography is used in posters, ranging from extremely minimal to something that is involved, complex, and reads as the punctum. The use of black and white imagery and silhouettes - images that lack excessive detail - is also popular in horror and thriller film posters, due to their ability to create a sense of unease and mystery. Similarly, the concept of using one central figure against a black or dark colored background is used to highlight the importance of the sole figure, as well as indicating how the perspective and positioning of images plays into how the poster is perceived. Opposing black and white imagery, some posters in this exhibit make use of a comic-book style of art, using bold colors and crudely drawn figures to take violent and shocking imagery and reduce it to something child-like. Furthermore, everything about the poster artists craftsmanship is intentional, including using scratchy, hurried brushstrokes as opposed to clear outlines, which is used to produce a feeling of anxiousness in the viewer.
These Polish posters also make use of staple motifs of horror and thriller films, including skulls, creatures and inhumane figures, and the concept of “less is more” in design. An example of this is the poster for Jaws, in which the artist uses just the fin of a shark swimming in barren waters with a trail of blood behind it, as opposed to rendering an entire shark. The lack of gore and openly horrifying imagery in this exhibit serves as proof that the Polish posters leave a lot to the viewer’s imagination, paralleling how horror and thriller films have more to do with the audience’s reaction than to the actual plot of the film. Instead of using imagery that is grotesque in nature, the poster artists featured in this exhibit create images that are unusually striking in order to captivate the viewer. The uniqueness of these posters further contributes towards the groundbreaking and visually striking nature of horror and thriller films. In order to create posters that are out- of-the-ordinary and thought-provoking, the Polish poster artists merge elements and figures that are on their own, not frightening, but when combined, are able to produce something so unexpected that it causes a profoundly visceral and unsettling reaction in the viewer.
HORROR FILMS
The Supernatural
Captions
- 1. Jakub Erol
Obcy
Alien
Paper, silkscreen
26 x 37.5 inches
1980
- 2. Jakub Erol
Christine
Paper, matte finish
26.5 x 38.5 inches
1985
For the supernatural horror film Christine, acclaimed Graphic Artist Jakub Erol makes use of a black and white style of representation. The film title appears in a bold, gothic styled black font against a white background. The center of the poster features the open mouth of a featureless entity, lined with two neat rows of pointed fangs. The outlines of wrinkles and flaps of loosened skin by the corners of the mouth - as well as the creatures teeth - allude to the fact that the entity depicted is not human. Furthermore, the vastness of the black space of the inside of the mouth is large enough that it is more threatening and mysterious than the fangs itself. The presence of the mouth with fangs against an otherwise barren poster space is indicative as to how a focus on one aspect of visual imagery can be very effective in capturing the attention of the viewer.
- 3. Andrzej Klimowski
Omen
Fiber paper, silkscreened
26.75 x 37.5 inches
1977
The poster for The Omen is almost entirely visually activated with imagery. Using a black and white color scheme, the typography is quite simple, with the movie title printed at the very bottom of the poster. The central image is that of a young boy in the nude with a gargoyle in the place of a human head. The black shading on boys legs, torso, and the gargoyle are all highly saturated, contrasting the white background. Historically, gargoyle’s are meant to symbolize protection, as they protect whatever they guard - often churches or buildings associated with religion or a higher power - from evil or harmful spirits. The imagery is unsettling and shocking primarily due to the nudity of the young boy, as well as his stance. Instead of making any attempt to hide his pubic region, the boy stands with his legs set apart almost defiantly, as though he is daring the viewer to look at him. The bold use of nudity in this poster also highlights the difference between the emphasis on artistic license and creativity used by the Polish Poster artists for film posters as opposed to the more commercialized and standardized film posters commissioned by big budget Hollywood studios, which often relied more on film stills than creative artwork.
- 4. Jakub Erol
Duch
Poltergeist
Paper, matte finish
27 x 38.5 inches
1984
- 5. Jolanta Karczewska
Krlik
The Raven
Fiber paper, matte screened
22.75 x 32.5 inches
20th century
- 6. Wiesław Wałkuski
Rosemary’s Baby
Fiber paper, no coating
26.5 x 37.75 inches
1984
Wałkuski’s poster for Rosemary’s Baby features the image of drapery covering a woman and her child, blending into the background and creating one continuous image and a visually activated space. The film title and directors name are written on alternate sides of the top of the poster in a cursive script with disconnected letters. The crotch area and left leg of the woman are draped in a black cloth, and both herself and the small child she cradles in her arms have their bodies and part of their heads concealed by red drapery. The stance of the woman is vital in understanding the intent of the poster, as she appears fearlessly defiant and challenging, and moreover, fiercely protective of her child. Furthermore, the artistic choice to keep the head of the mother partly covered, with just enough skin displayed so that the viewer knows she has a human face, but keeping the child’s face fully covered is an interesting one. This complete concealment of the child’s face prompts the question of what exactly lies under the drapery, and whether or not it might be a danger to the mother figure who tightly clutches it against her body.
- 7. Andrzej Pagowski
Dziecko Rosemary
Rosemary’s Baby
Paper, silkscreen
26.5 x 37.5 inches
In this poster for the popular horror film Rosemary’s Baby Andrzej Pagowski combines detailed imagery with a simple background and typography to captivate the viewer. The typography appears in a crude, hand-written font, choppy in style, in small print at the very bottom of the poster. Set against a black background, a small, furry hand of a baby monster adorned with green fingernails tightly clutches a single finger of a woman’s hand. The way the monster's hand holds the woman’s in a tight, trusting grasp indicates that they are mother and child. This poster offers a very interesting interpretation of what a monstrous/demonic presence is, opting for using an image that is more visually stimulating and unique than something that is outwardly horrific. The true horror lies in the implications the image holds; What exactly is the creature, and what is its relation to humans?
- 8. Rosław Szaybo
Rosemary’s Baby
Paper, gloss finish
26.5 x 38.5 inches
1990
Monsters
Captions
- 9. Wiesław Wałkuski
Zagadka Niesmiertelnosci
The Hunger
Paper, no coating
26.25 x 38.25 inches
1984
- 10. Andrzej Dudziński
Szczeki
Jaws
Paper, silkscreen
22.5 x 31.25 inches
20th century
- 11. Edward Lutczyn
Szczeki 2
Jaws II
Fiber paper, silkscreened
26.5 x 38.25 inches
1979
- 12. Michał Książek
Nosferatu
68 x 98 centimeters
2005
This poster for the film Nosferatu opts for a black and white color scheme, using a black border and silhouetted figure against a solid white background color. Bold typeface is displayed at the top of the poster. The silhouette outlines a hairless head, a long cloak with an upturned collar indicating a vampire-like figure, and a hand resembling a claw. Artist Michał Książek is able to
- 13. Ryszard Kaja
Nosferatu, Phantom der Nacht
Nosferatu The Vampyre
68 x 98 centimeters
2012
This alternate poster for the vampire film Nosferatu includes simple typography and imagery over black and grey background. The director's name is written in a bold, white colored text and the film title is written in a red font, both occupying a space at the bottom right corner of the poster. In the center of the poster lies a portrait of the vampire, Nosferatu, rendered in a scratchy, sketch-like style. The figure has a pale, white face, and black shadows omit any unnecessary detail while simultaneously creating an air of intrigue. Nosferatu’s elongated fingers appear almost talon-like, and he is cloaked in a black robe, his head peering over his shoulder at an unknown space. The creature presented to the viewer is clearly not human despite having the corporal figure of a man. Through this vague yet heavily stylized interpretation of a vampire, a sense of unease and curiosity is provoked in the viewer, creating intrigue as to just what this creature is and what his intentions are.
- 14. Jerzy Flisak
Mlody Frankenstein
Young Frankenstein
Fiber paper, silkscreened
18.5 x 26.75 inches
1979
Psychological
Captions
- 15. Anna Kozlowska
Coma
Paper, silkscreen
26.25 x 37 inches
1980
- 16. Jan Młodożeniec
Szal
Frenzy
Paper, silkscreen
22.5 x 32.5 inches
1977
The poster for the Hitchcock film Frenzy has a comic-like aesthetic and makes use of bold colors including a yellow headline for the titlespace and a purple colored background. The central image of the poster is the silhouette of a man with green eyes in a profile position. However, his head is torn open, the edgings fraying in a manner that is similar to that of a torn sheet of paper. The torn edges are pixelated, adding to the cartoonish style of the poster. A woman who is also rendered in the same cartoonish style erupts from the torn portion of the man’s head. Instead of creating imagery that is shockingly grotesque or eerie, this poster relies more on colorful and bold imagery to captivate its viewer. In fact, the boldness and uniqueness of the imagery in the poster directly parallels the groundbreaking and visually striking nature of horror films.
- 17. Romuald Socha
Lokator
Tenant
Paper, matte finish
23 x 32 inches
20th century
In the poster for the Roman Polanski film The Tenant features the silhouette of a woman’s lips filled in with a brick pattern. In the center of this pattern, a single green eye is rendered. The eye appears to be glowing, a stark contrast to the dark, shadowy pattern of the brick wall. This imagery is placed over a solid black background, and expressive typography naming the film title is present at the bottom of the poster. The typeface varies in size, alternating between long, thin, wide, and short lettering. The overall effect of the poster is a work that is visually captivating and unsettling, but not at all obviously frightening.
THRILLER FILMS
Psychological
Captions
- 18. Bronisław Zelek
Ptaki
The Birds
Linenbacked
23.4 x 33.1 inches
1965
The poster for the Hitchcock film The Birds features the image of a human skull with bird wings sprouting from each side of the head, set against a beige background. Both the skull and the wings are cast in black shadows, with carefully rendered patches of light highlighting the details of the wings and the bone structure of the skull. The imagery in this work exhibits the continuation of the motif of skulls and skeletons in horror/thriller film posters. Furthermore, typography plays a key role in the poster design. The film title is repeated in different sizes and fonts, and where the words are small and packed closely together towards the top of the poster, they become larger and increasingly scrawling and bold as they near the skull. The heavily stylized interpretation of the typography resembles a flock of birds, and the combination of this expressive and cluttered typography alongside the central imagery produces a sense of unease and anxiousness in the viewer.
- 19. Jan Młodożeniec
Intryga Rodzinna
Family Plot
Silkscreen
50 x 70 centimeters
1970s
Jan Młodożeniec’s poster for Hitchcock’s Family Plot uses a white background with a black hatching pattern placed over it. The lines are close together and neatly structured towards the top of the poster, but gradually become increasingly scratchier and spread apart. Completed in a black and white color scheme, a crude, cartoon-like drawing of a man from the shoulders up occupies the bottom of the poster. A woman rendered in the same style stands on top of the man's head, dressed in sunglasses, a wide-brimmed hat, and a trench coat, firing a gun. Intricate gear work is drawn as erupting from the head of the gun, including the directors name and film title printed in small typeface.
- 20. Andrzej Klimowski
Intryga Rodzinna
Family Plot
68 x 98 centimeters
1977
This alternate poster for Hitchcock’s Family Plot features imagery resembling a photograph. A grinning man is depicted holding a cigar in front of his mouth, effectively concealing it, and his fingers are covered with a leather glove. A monocle or some type of dark lens covers his right eye, and the small silhouette of the profile view of a man is rendered in the lens. Furthermore, the poster’s typography is contained within a black and blue box, with the directors name written in a green font and the film title written in a more expressive style. The dark, hazy color palette creates a feeling of unease and impending doom for the viewer. The imagery is interesting because it combines elements of photography with more simplified art, resulting in a visually stimulating piece.
- 21. Romuald Socha
Tunel
Tunnel
Paper, matte finish
26.5 x 37.75 inches
1987
Crime
Captions
- 22. Romuald Socha
Zasady Domina
The Domino Principle
Paper, matte finish
26.75 x 38.25 inches
20th century
- 23. Krzysztof Nasfeter
W Mroku Nocy
Night Moves
Fiber paper, no coating
23.25 x 32.5 inches
1977
- 24. Jan Młodożeniec
Malone
Paper, silkscreen
26.5 x 36.75 inches
1988
Mystery
Captions
- 25. Romuald Socha
Zasady Domina
The Domino Principle
Paper, matte finish
26.75 x 38.25 inches
20th century
- 26. Jan Młodożeniec
Klute
20th century
- 27. Romuald Socha
Syndykat Zbrodni
The Parallax View
Paper, silkscreen
22.75 x 31.75 inches
20th century
- 28. Andrzej Pagowski
Osaczona
Someone to Watch Over Me
Fiber paper, no coating
26.5 x 37 inches
1989
The poster for the thriller film Someone to Watch Over Me combines expressive typography and imagery to create a visually stimulating piece of work. Set over a beige background, the film title is printed in a bold, red and black font, standing out from the smaller, cursive typeface used to display the actors and director’s name. The poster features the image of a woman with her mouth slightly opened and a flock of blackbirds swarming her head, concealing her eyes from the viewer. The woman’s neck, chin, lipstick, and the swarm of blackbirds are painted in a blurred and scratchy manner, with jagged, hurried brushstrokes. The craftsmanship of this work and the manner in which the imagery is presented creates feelings of uncertainty and fear, making the poster truly frightening. Simultaneously, the blurred red of the woman’s mouth captures her in a moment of fear, effectively immortalizing a soundless scream.
ARTIST BIOGRAPHIES
Andrzej Dudziński
Andrzej Dudziński was born in Sopot, Poland in 1945. Having studied architecture and poster design, he worked for many underground magazines and publications while living in London. His work has appeared in Polish periodicals and exhibited at fine art galleries in Warsaw. He has also designed posters for film and theatre, illustrated children’s books, and designed stage sets for theatre and television. From 1982-1989 he taught at the Parson’s School of Design in New York City.
Jakub Erol
Jakub Erol (November 30, 1941- February 8, 2018) was a Polish graphic artist and an author of posters counted amongst the Polish School of Posters. He studied at the Academy of Fine Arts in Warsaw, and after beginning to work as a professional artist he collaborated with the Film Distribution Center and National Publishing agency to design hundreds of posters for both Polish and foreign films.
Jerzy Flisak
Jerzy Flisak (September 24, 1930 - February 21, 2008) was a renowned Polish poster artist who specialized in film posters that were satirical in nature. He often collaborated with the Polish Film Distribution Office to design posters for American films. A graduate of the Faculty of Architecture at Warsaw University of Technology, Flisak was known for his “sloppy” style and thick, powerful brushstrokes, as well as his light use of color, creative typography, and applied stylistic and historical references. He used various techniques in his posters including painting, photography, and cut-out materials. Apart from his work for the Polish Posters film collection, Flisak also created set designs, animated films, and a series of caricatures of famous Polish politicians and cultural figures. In 1961 he received the award of the Minister of Culture and Art for his satirical works, and consecutively, in 1985, he received the award of the Prime Minister.
Ryszard Kaja
Ryszard Kaja (1962 - April 17, 2019), born in Ponzan, was a Polish painter, Graphic Designer, and stage and poster designer. A graduate from the Academy of Fine Arts in Ponzan, he followed in the footsteps of his father who was a graphic designer and representative of the Polish School of Posters. The main inspiration for his works was the prose of Czeck writer Bohumil Hrabal, with a specific focus on his perception of the juxtaposition of beauty and cruelty found in everyday life.
Jolanta Karczewska
Jolanta Karczewska is a visual artist born in 1933. Her work was primarily influenced by the post-war period of the 1950’s, and the pooling of artistic talent and ideas brought about by the migration of many European creatives and artists to New York City after World War II, as a result of exile from European countries.
Andrzej Klimowski
Andrzej Klimowski is a graphic artist and designer of theatre, film, and opera posters born of Polish parents in London in 1949. Having studied at the Academy of Fine Arts, he is the author of graphic novels and an international illustrator of book covers and magazines. His influences include surrealism, Dada, expressionism, his own East-European ancestry, and his personal style which includes elements of fantasy, anxiety, eroticism, and ambiguity. His professional illustration and graphic artwork is also influenced by his experimental work in printmaking, photography, and painting. He currently works as the head of illustration at the Royal College of Art (RCA).
Anna Kozlowska
Anna Kozlowska is a Polish Graphic Designer and artist who works and resides in London. She studied commercial Graphic Design at The University of Computer Sciences in Lodz, Poland. Using surrealist and abstract influences, she specializes in clothing graphics for adult apparel. Her preferred mediums for experimental works are drawing, oil painting, and photography.
Edward Lutczyn
Edward Lutczyn is a Polish visual artist, born on June 8, 1947 in Heppenheim. He is commonly known for his impressive work with caricatures, satirical drawings, illustrations, and posters, made for both children and adults. He has both appeared in and collaborated with many popular magazines and publications, including the likes of Playboy and Reader’s Digest. He has also authored two comic books and illustrated the television show “Butik”. A graduate of the AGH University of Science and Technology, Lutczyn is vastly exhibited and awarded, having designed posters, postcards, and CD covers, as well as illustrating over 120 books.
Jan Młodożeniec
Jan Młodożeniec (1929 - 2000), born in Warsaw, was a polish graphic designer who specialized in posters, drawing, book publication and design, and illustration. He studied at the Warsaw Academy of Fine Arts within the department of Graphic Arts and Posters of Henryk Tomaszewski. He also served as a member of Alliance Graphique International (AGI), a club composed of the world’s leading artists and designers.
Andrzej Pągowski
Andrzej Pągowski, born April 19, 1953 in Warsaw, is a Polish Graphic Designer and poster artist. He studied at the Poster Studio at University of the Arts in Poznan with a concentration in applied Graphic Design. As a working professional, he served as the artistic director of the Polish version of Playboy magazine and designed billboards, logos, and CD cover art. He was the leading representative of the commercial-free poster art of the Communist period, and there is a distinct contrast between his older works, which were staples of classic Polish Posters, and his newer works which resembled contemporary advertising. His work is characterized by a “flick of the wrist” style, including spontaneous, handwritten details and typography.
Wiesław Wałkuski
Wiesław Wałkuski, born in 1956 in Bialystok, Poland, is ranked as one of the most outstanding living poster artists, with over 200 posters to his name. Having studied at the Warsaw Academy of Arts, he specialized in poster design and painting and later worked as a Graphic Designer and illustrator for several publishing houses. As a poster designer, he collaborated with Poland’s largest film distributors, Polfilm and Film Polski to create posters for American films.
Romuald Socha
Romuald Socha is a postwar and contemporary artist whose work has been offered at auctions many times. His work shows an emphasis on surreal, visceral, and visually shocking imagery.
Rosław Szaybo
Rosław Szaybo (August 13, 1933 - May 21, 2019) was a Polish Graphic Designer, illustrator, and photographer. He studied at the Academy of Fine Arts in Warsaw and received diplomas from both the poster and painting workshops. Professionally, he worked as an artistic and creative director for large institutions and designed posters, exhibitions, album and book covers, as well as satirical drawings. His work shows an emphasis on surrealist and tachist influences, as well as experimentation with the use of photographic techniques in posters.
Bronisław Zelek
Bronisław Zelek (1935 - February 28, 2018) was a Graphic Designer, poster artist, and author of typefaces. He studied at the Academy of Fine Arts in Warsaw under Henryk Tomaszewski and was known for his original and captivating posters. He specialized in portraying horror films in posters, and was skilled at implementing stills and aesthetic colors as well as blending images and typography. He often modified stills to such a great extent that they were reduced to the background or an abstract element of the poster. His unique style was shaped by historical events, during a time period when Western designs were mocked and avoided, and Polish artists were greatly respected for creating their own alternative style.
Bibliography
Posters
Exhibit Topic: American Horror Films
- Jaws II
http://hdl.handle.net/1860/polishposters:58770
- Christine
http://hdl.handle.net/1860/polishposters:53400
- Alien
http://hdl.handle.net/1860/polishposters:53410
- Poltergeist
http://hdl.handle.net/1860/polishposters:53810
- Frenzy
http://hdl.handle.net/1860/polishposters:59970
- Coma
http://hdl.handle.net/1860/polishposters:57170
- Jaws
http://hdl.handle.net/1860/polishposters:52330
- Young Frankenstein
http://hdl.handle.net/1860/polishposters:54200
- The Raven
http://hdl.handle.net/1860/polishposters:56700
- The Omen
http://hdl.handle.net/1860/polishposters:56870
- Rosemary’s Baby
http://hdl.handle.net/1860/polishposters:63080
http://hdl.handle.net/1860/polishposters:72100
http://hdl.handle.net/1860/polishposters:70170
- The Tenant
http://hdl.handle.net/1860/polishposters:67140
- The Hunger
http://hdl.handle.net/1860/polishposters:72000
- Nosferatu
https://polishposter.com/4967-nosferatu-herzog-polish-movie-poster.html
https://polishposter.com/4081-nosferatu-polish-poster.html
Thriller Films
- Someone to Watch Over Me
http://hdl.handle.net/1860/polishposters:63260
- Klute
http://hdl.handle.net/1860/polishposters:60700
- Night Moves
http://hdl.handle.net/1860/polishposters:61110
- The Conversation
http://hdl.handle.net/1860/polishposters:54210
- Malone
http://hdl.handle.net/1860/polishposters:60090
- The Parallax View
http://hdl.handle.net/1860/polishposters:67060
- The Domino Principle
http://hdl.handle.net/1860/polishposters:67150
- The Tunnel
http://hdl.handle.net/1860/polishposters:67050
- Family Plot
https://polishposter.com/jm27-family-plot-hitchcock-polish-poster-jan-mlodozeni ec.html
https://polishposter.com/1076-family-plot-hitchcock-polish-movie-poster.html
- The Birds
https://polishposter.com/3924-birds-polish-movie-poster.html
Essays
- https://www.smashingmagazine.com/2010/01/the-legacy-of-polish-poster-design/
- https://allthatsinteresting.com/vintage-polish-movie-posters
Artist Biographies
- Lutczyn, Edward
https://pl.wikipedia.org/wiki/Edward_Lutczyn
- Erol, Jakub
https://pl.wikipedia.org/wiki/Jakub_Erol
- Mlodozeniec, Jan
https://www.moma.org/artists/4033
- Kozlowska, Anna
https://www.annakozlowska.com/about
- Dudzinski, Andrzej
http://andrzejdudzinski.com/bio.en.php
- Flisak, Jerzy
https://culture.pl/en/artist/jerzy-flisak
- Karczewska, Jolanta
https://www.artland.com/artists/jolanta-karczewskazagorska
- Klimowski, Andrzej
https://www.rca.ac.uk/more/staff/andrzej-klimowski/
- Pagowski, Andrzej
https://culture.pl/en/artist/andrzej-pagowski
- Walkuski, Wieslaw
http://www.poster.com.pl/walkuski.htm
- Szaybo, Roslaw
https://culture.pl/en/artist/roslaw-szaybo
- Socha, Romuald
https://www.mutualart.com/Artist/Romuald-Socha/D2F5B5CDB9FD6083 /Biography
- Kaja, Ryszard
https://polishpostergallery.com/gallery/?q=kaja_ryszard
- Zelek, Bronislaw
https://culture.pl/en/artist/bronislaw-zelek