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Dannys Fotos stellen einen künstlerischen Schatz dar. Es sind Aufzeichnungen von Menschen, die aus ihrer eigenen Nachbarschaft heraus eine Bewegung initiiert haben. In diesem Band verbindet sich der Überschwang dieser Zeit mit der allgemeinen Geschichte der LGBT-Bewegung. Dieses Buch stellt für unser dauerhaftes kollektives Gedächtnis eine große Bereicherung dar. - Gus Van Sant LGBT: San Francisco ist das erste Buch, das dem beeindruckenden Archiv des Fotografen Daniel Nicoletta gewidmet ist. Es versammelt überwältigende Bilder aus San Francisco, dem Mekka der Lesben-, Homosexuellen-, Bisexuellen und Transgenderbewegung - von den Anfängen in den 1970er Jahren bis in unsere Gegenwart. Nicoletta war in den letzten 40 Jahren ein führender Chronist der LGBT-Bürgerrechtsbewegung. Seine Bilder porträtieren auf lebendige und intime Art und Weise Menschen, die zusammenkamen, um die Welt zu verändern: Tunten, Schwestern, Angehörige der Transgender-Gemeinde, Aktivisten, Prominente, Politiker, Künstler und deren Verbündete. Im Jahr 1975 arbeitete der damals 20-jährige Nicoletta im berühmten Kameraladen von Harvey Milk im Castro- Viertel, einem der ersten Schwulenviertel überhaupt in den USA. Nicolettas ikonische Fotografien von Milk, dem ebenso überzeugenden wie charismatischen Menschenrechtler, der zu einem der ersten Amtsträger weltweit wurde, der sich offen zu seiner Homosexualität bekannte, gehören wahrscheinlich zu seinen berühmtesten Aufnahmen. Milk engagierte sich für eine gleichberechtigte Welt, und das zu einer Zeit, als die wachsende Sichtbarkeit der LGBT-Bewegung mit weit verbreiteter Feindseligkeit und systematischer Diskriminierung einherging. Milk selbst wurde 1978 in seinem Büro im Rathaus der Stadt ermordet, nur ein Jahr nachdem er gewählt worden war. Trotz des tragischen Todes von Harvey Milk und der sich abzeichnenden Tragödie der AIDS-Epidemie, blieb Nicoletta seinem Engagement als unerschütterlicher Dokumentarist der LGBT-Bewegung treu. Dieser Fotoband dokumentiert das Chaos auf den Straßen San Franciscos in dieser bahnbrechenden Zeit. Nicoletta hielt die aufregendsten Momente innerhalb der alternativen Theaterszene fest, die grellen Drag Queens und Drag Kings, den Aufstieg der Anti-AIDS-Bewegung und die unerschütterliche Entschlossenheit der Kämpfer und Kämpferinnen für die Homosexuellenehe. Im Jahr 2008 wurde Nicoletta eingeladen, als Schauspieler, Berater und Set- Fotograf an Gus Van Sants Spielfilm Milk mitzuwirken. In dieser Zeit hat er einige seiner bemerkenswertesten Werke produziert, die ebenfalls in diesem Bildband vorgestellt werden. Bis heute dokumentiert Nicoletta den Nachhall von Milks Vermächtnis. Er gilt als wichtige Schlüsselfigur für die wissenschaftliche Aufarbeitung der LGBT-Bürgerrechtsbewegung und der Lebensgeschichte von Harvey Milk. Chuck Mobley drückt es so aus: Was den Wert von Daniel Nicolettas Werk ausmacht, das ist seine vorbehaltlose Würdigung der Geschichte der LGBT-Bewegung im Amerika des zwanzigsten Jahrhunderts. Er hat eine unschätzbar wertvolle Chronik dieser Bewegung geschaffen. Sie zeigt die unverbrüchliche Einheit von Zeit und Raum. Aber vor allem zeigt sie uns die Protagonisten, die das Ganze zum Leben erweckt haben.

A complete history of first 100 years of black cast movie posters. Stunning images. From world's leading archive.

Back by popular demand, this stunning new Evergreen Edition of the worldwide bestseller delivers a pictorial celebration of the look and attitude of "Ivy." In the decade between 1955 and 1965 a coterie of discerning Hollywood hipsters appropriated the incomparable Ivy League clothing of America’s East Coast elite. These West Coast actors elevated The Ivy Look to the height of cool and defined a quintessentially American male dress code for a new generation of movie audiences. From the button-down hip of Steve McQueen, Paul Newman and Anthony Perkins to the preppy sensibilities of Woody Allen and Dustin Hoffman; the understated but carefully selected components of The Ivy Look didn’t shout "look at me!" but instead gave off an image of approachable correctness and laid back confidence. Exhaustively compiled, this coffee table volume to take an in-depth look at how "Ivy" established itself as the epitome of Hollywood style, gained a new democratic global following and a place in history as the look of modern America.

World vintage movie poster expert Tony Nourmand shares his personal selection of the 100 essential movie posters of all time. Features stunning images from designers such as Saul Bass, Paul Rand and Bill Gold and classic movie titles like Man With the Golden Arm, Breakfast at Tiffanys, Goldfinger and Metropolis, which holds the world record for the most expensive poster ever sold at $690,000, in a sale brokered by Tony in 2005. Beautiful and diverse imagery from around the world with accompanying photographs and text.

The ultimate photo album.' (Harper's Bazaar). A movie lover's encyclopedia of weddings and a tribute to the most iconic Hollywood stars. Will quench your thirst for impeccable glamour and salacious gossip.

Audrey Hepburn's legendary style and grace, first seen by the public in her 1953 debut, Roman Holiday, redefined perceived notions of Hollywood glamour and ushered in an age of sophistication and elegance. Her legacy on screen and in fashion is undisputed and her image has become as synonymous with her fame as her films. Audrey Hepburn: The Paramount Years collects for the first time those memorable billboard images which established Hepburn's iconic status. Featuring the golden period of her film career, this sumptuous book includes never-before-seen poster artwork for Roman Holiday, Sabrina, Funny Face and Breakfast At Tiffany's along with magazine covers from the period, lobby cards, Givenchy's stunning original costume sketches and rare behind-the-scenes stills from Audrey Hepburn's Paramount films. With a foreword written by Sir Christopher Frayling, Chair of Arts Council England and Rector of the Royal College of Art, this book shows, film by film, how Hepburn's classic image was created through a combination of exquisitely designed costume, beautiful photography and illustration and an elegance that has stood the test of time.

Sex, drugs, delinquency, Black Power, and rock ‘n’ roll—these are just a few of the themes that have inspired B-movie makers over the past 80 years. The posters created to promote these movies are fantastic period pieces that evoke all the taboos of bygone eras. Before the Hayes Code of 1934, Hollywood had few the poster for Girl Without a Room, for example, left little doubt as to how the young woman would find accommodation. In the 50s, Beats and juvenile delinquents attracted teens to the drive-ins; in the 60s and 70s came Blaxploitation films like Shaft and the first of Russ Meyer’s mammary-obsessed epics, Faster Pussycat, Kill, Kill. The posters for these films are masterpieces of visual innuendo, offering, in most cases, far more than the movies themselves actually delivered. Tony Nourmand is co-owner of the Reel Poster Gallery in London and a poster consultant to Christie’s; Graham Marsh is a designer and art director. Together, they have produced Horror Poster Art and Science Fiction Poster Art, and collections of 20th-century film posters by decade.

The 1980s was an exceptionally fertile period for the cinema, which skilfully reflected the decade's diverse trends and the tastes of an audience obsessed with fashion, music and the latest high tech gadgetry - preferably in matt black. As the US regained confidence in itself during the Reagan years, Hollywood catered to the emerging yuppie market with movies that range from brat-pack capers such as St Elmo's Fire and The Breakfast Club to testosterone driven blockbusters like The Terminator and Die Hard, from the independent, low-budget films of the Coen Brothers to the revival of classic American film noir. The Brits chipped in with A Fish Called Wanda and Chariots of Fire and the Italians with the enchanting Cinema Paradiso, which was one of a number of foreign language films (Betty Blue, Ran, Kagamusha) that broke through into the international market. The wide variety of films on the screens of the burgeoning multiplexes was fully reflected in the poster art of the period, the cream of which features in this book.

Lights down, curtain up on the cinema of the 1940s, a decade that produced some of the most critically acclaimed movies of all time. These range from the iconic Casablanca, starring a cynical, world-weary Humphrey Bogart and a never-more-beautiful Ingrid Bergman, to Orson Welles' seminal Citizen Kane, and from the optimistic It's A Wonderful Life to the enigmatic The Third Man, recently voted best British film of all time by the critics. This was the decade when Hollywood introduced cinema audiences to one of the greatest of all genres the film noir, still epitomised by movies like Double Indemnity, Out of the Past, Gilda and The Maltese Falcon - a darkly sinister world of gumshoes, double-crossing dames, bent cops and blind alleys. The world may have been at war for the first half of the decade and Europe in ruins for the second, but this was, in many ways, a golden age of cinema. Moreover, as this book shows, the passage of time has not diminished the impact of the 40s poster art that had contemporary audiences queuing to see the latest releases starring movie immortals like Robert Mitchum and Rita Hayworth.

The cinema of the 1950s reflected the mood swings of the post-war generation. Optimistic epics and brittle social comedies rubbed shoulders with socially aware dramas and, faced with the new challenge of television, the studios conjured up a host of fresh attractions: CinemaScope, Vista-Vision and 3D, the curves of Marilyn Monroe and the moody mumbles of Marlon Brando and James Dean. In Hollywood, veteran actors circled the wagons against the massed assault of juvenile delinquents as the Wild West became the Asphalt Jungle. In Britain, upper lips remained stiff - though a smile or two was permitted at the latest Ealing Comedy. Films from Italy and France, where the 'New Wave' was starting to break, were still considered strictly high culture, if not threateningly risque, in the Anglophone nations. The images in this book represent the full range of poster art which attracted world wide cinema audiences to the movies of the decade. Some may be familiar, others, long forgotten, will come as surprises. Most are still as fresh and powerful as the day they first appeared.