In the history of graphic design, the film poster has repeatedly exemplified graphic innovation. The first constructivist posters by the Stenberg brothers challenged viewing habits in the late 1920s, as did the radical, succinct film advertisements by Jan Tschichold. The Polish school of poster art, with exponents such as Henryk Tomaszewski and Roman Cieslewicz, produced iconic film posters in the postwar era, and Cuban designers, including Antonio Reboiro and -ko, followed suit after 1959. Simultaneously, in the former Czechoslovakia, the likes of Milan Grygar, Karel Vaca and Josef Vylet-al helped the film poster gain international recognition. In all three countries, the lack of economic pressure allowed such creative power to flourish. In Germany, film distributors such as Neue Film- kunst Walter Kirchner or Atlas-Film prompted a new aesthetic by commissioning Hans Hillmann or Dorothea Fischer-Nosbisch.The works presented in this publication illustrate an alternative to the Hollywoo
