Western amerykański
Subtitle: Polish poster art and the Western
By: edited by Kevin Mulroy.
Contributors: Mulroy, Kevin.; Autry Museum of Western Heritage.
Publisher: Autry Museum of Western Heritage in asssociation with the University of Washington Press
Published: 1999
Place of publication: Los Angeles
Language: eng
Number of pages: 229
Subjects: Film posters, Polish -- Exhibitions; Western films -- United States -- Exhibitions
Description: "The figure of Gary Cooper as the proud frontier sheriff striding down the street in the 1952 American Western High Noon is as much a symbol of dignity and courage in contemporary Poland as it is in the United States. In 1989, for Poland's first free election since the Communist takeover, the political party Solidarity dramatically and successfully used that image of Cooper on a campaign poster urging voters to respond to their country's own "high noon" - their critical moment of decision."--BOOK JACKET.

"In postwar Poland, film poster artists employed the universally recognized symbols of the Western - horse, six-shooter, boots, tin-star badge, Stetson, saddle - to convey violence as a negative force. Unlike many other art forms, the film poster did not fall within the censor's domain because it was not expected to pose a threat to the social order. But messages were conveyed through subtle means of symbol and color.

The Polish poster has been likened to the Trojan horse, with the artist smuggling messages onto the streets in the guise of ephemera."--BOOK JACKET. "The posters displayed so strikingly in this book, and discussed in three essays, are from the golden age of Polish poster-making, the mid-1940s to the 1970s."--BOOK JACKET.
Notes: Includes bibliographical references and index.
Catalog of an exhibition held at the Autry Museum of Western Heritage, Los Angeles, Calif., Oct. 1999.