Luther Blissett wrote:There's a definite psychological tie to early photo processing, memories, and dreams. I find it to be coincidental though. I'd have to imagine that dreamers in the byzantine still dreamt in hazy, greyish, vignetted scenes. The nature of dreams can not have been affected by the nostalgia evoked in lesser photographic technology.
Yeah, it might be a coincidence. Though I'd like to think that designers have understood and coopted some of the visual lessons of the last hundred years, or that some of them might have actually been to see a Gerhard Richter show.


But that may well be wishful thinking. I don't really think our dreams or memories actually do mentally appear to resemble old photographs, but that the symbolic qualities inherent in old photos can function as a neat shorthand for the vagaries of visual memory. What dreams and thoughts and memories really "look like" is a question that is beginning to be answered in a more definitive way, for better or worse:
Interesting that the cat looks at Indiana Jones and sees a cat. The measure of all things, I guess.
It was not always the red plate that washed out - it was any:
Yes, I was sort of responding to the color palette remarked upon by nathan, and pursuing its possible source in a somewhat poetic way, admittedly. These kinds of considerations are obviously just a small facet of the production issues of a movie poster, though.
I hope these discussions of the meaning of visual language aren't too far off-topic for the OP. I doubt they fly any farther afoul, though, than again raising the ominous and ever-gathering specter of the influence of the Ahnenerbe on the plight of the contemporary male.
In any case, thanks for the thread, Jack.