Raj Kapoor directorial film posters from 1948 to 1985 A designing analysis. By Adity saxena Abstract Cinema and movie poster have a fascinating strength of establishing the ethos and myths of people and both these presume an audience within the cultural context in which they are produced. Therefore, a particular movie poster enriching mass communication through designed visual means consists of much information, both genealogical and current, on film industry, evolution of design, craftsmanship, and the taste of the artists and society; and at the same time it stands for a strong evidence of its contemporaneity (Noyan & Eda, 2008). Hindi cinema reaches the golden years of this industry during the first two decades after the independence of India in 1947. The movie posters during this period involve the history of Hindi cinema, graphic design as well as Indian society. The great deal of labour involved owing to the poor resources of the period in spheres such as design elements, typography, composition, and also the mistakes, etc. reflect the characteristics of the posters (Noyan & Eda, 2008). In this paper, the posters of Raj Kapoor s directorial films from 1948 to 1985 are analysed to shed light on the graphic design in Hindi film industry of these forty years. As a director, producer and star, Raj Kapoor (1924-88) became one of India s leading filmmaker during this golden age of Hindi cinema (Dayal, 2012). The film posters considered for this research are of Aag (1948), Barsaat (1949), Awara (1951), Shree 420 (1955), Sangam (1964), Mera Naam Joker (1970), Bobby (1973), Satyam Shivam Sundaram (1978), Prem Rog (1982), and Ram Teri Ganga Maili (1985). All these posters represent the design transition from hand painted to digital era. These days hand-painted posters and billboards are replaced with the modern computer designed posters that are printed on Vinyl sheets. But with time, as technology making its mark everywhere, this art form is in its dying phase (https://indianartworksblog.wordpress.com). The Raj Kapoor s movie posters are analysed through the Gestalt Theory. 1 The transition from hand painting times to digital era is also considered an important point. Graphic and visual characteristics of the posters would be placed in the context of the social life and the characteristic of Raj Kapoor s melodrama and evolution of Bollywood movie poster. key word-: Raj Kapoor, Film, Poster, Bollywood Art, Mass Communication, Typography, Gestalt Theory, Graphic Designing 1 http://www.interaction-design.org/encyclopedia/gestalt_principles_of_form_perception.html http://www.casirj.com Page 278
1. Introduction According to Saul Bass, the designer of many film credits and posters, designing film credit is like designing a film poster: you take the situation and turn it into one concept, one metaphor or into a background story that needs to be told or a character to be introduced (Noyan & Eda, 2008). Cinema, as any other entertainment form, is one pertinent part of our social and cultural life and depends on the support and participation of the audience for its existence and continuity and same is the case with the film poster. Cinema and movie poster have a fascinating strength of establishing the ethos and myths of people and both these presume an audience within the cultural context in which they are produced. Therefore, a particular movie poster enriching mass communication through designed visual means consists of much information, both genealogical and current, on film industry, evolution of design, craftsmanship, and the taste of the artists and society; and at the same time it stands for a strong evidence of its contemporaneity (Noyan & Eda, 2008). In this paper, the posters of Raj Kapoor s directorial films from 1948 to 1985 were analysed to shed light on the graphic design on Hindi film industry of these forty years. As a director, producer and star, Raj Kapoor (1924-88) became one of India s leading filmmaker during the golden age of Hindi cinema (Dayal 2012). The film posters considered for this research are of Aag (1948), Barsaat (1949), Awara (1951), Shree 420 (1955), Sangam (1964), Mera Naam Joker (1970), Bobby (1973), Satyam Shivam Sundaram (1978), Prem Rog (1982), and Ram Teri Ganga Maili (1985). Most of the research material for this paper was gathered from several websites and personal blogs. These posters are analysed through the Gestalt Theory 2 and design elements. In the opinion of Mazumdar (2014), the film posters functioned as per a unique set of rules, addressing the diverse public. The posters were paper reproductions of original hand-painted canvas images. The posters used often text also to evoke dramatic elements of the film to be publicized; they were, however, bound more by the idea of an unfocussed street from where colour and stardom had to be dramatically displayed. The posters used colour photographic prints to generate a unique aesthetic assemblage at a time when cinema was all black and white. According to the website Indian Hippy (http://hippy.in/origins, history-of-hand-paintedbollywood-movie-posters), antique Bollywood movie posters were made by gifted movie poster artists of the past a special community of artists who began with hand-painted Hindi cinema poster culture from nowhere. A wide range of locally available colours mixed with linseed oil was used to create larger than life designs, which were then transformed into thousands of 2 Soegaard, Mads (2005). Gestalt principles of form perception. Retrieved 19 April 2014 from http://www.interaction-design.org/encyclopedia/gestalt_principles_of_form_perception.html http://www.casirj.com Page 279
Bollywood movie poster prints though lithographic printing, the most commonly used technique of the time. This overwhelming number of Bollywood movie posters once adorned every bit of advertising space walls close to theatre houses, barber shops, tea stalls, etc. It may be of surprise to many that several highly admired Indian artists such as M.F. Hussain made their humble beginnings as Bollywood movie poster artists. Even today, the Bollywood movie poster art survives through its vintage prints. Bollywood movie poster art is now taught in prestigious art colleges across the world as a unique culture of no parallel. The vintage Bollywood movie posters are marked for their attractive colours and captivating highlights. Bollywood movie poster artists created the larger than life superstar actors and to the extent of new cult, giving movies the grandeur with which they continue to be identified. Perhaps, no stronger example of this can be found other than the superstar, Amitabh Bachchan. The actor s angry young man image is credited to the Bollywood movie poster artists who resorted to unique art styles such as painting with a knife instead of brushes, which gave Amitabh his angry action figure and look (http://hippy.in/origins, history-of-hand-paintedbollywood-movie-posters/). Vintage Bollywood movie posters attempted to capture the essence of the plot of the film as well as the shades of the different characters which were distinguished by different hues. For example, pink was the colour of love used liberally on the leading couple, whereas blue was the colour of choice to portray villainy (http://hippy.in/origins-and-history-of-hand-paintedbollywood-movie-posters/). Bollywood movie posters continued to be designed mostly in hand-painted format, until the 1970s when cut-paste techniques came up. These techniques were faster and required little creativity. Using the cut and paste technique, poster designers/artists would simply cut out the images of the actors from still photos and then paste them in a collage fashion onto a canvas board with a hand-painted background, to be replicated in print. These cut and paste designs could utilise the maximum space available in a poster design. The new trend in Bollywood movie posters was to break away from their hand-painted stereotype and to get photographic through the cut-paste technique which spread among the movie poster design community like a wildfire in the 1980s (http://hippy.in/origins-and-history-of-hand-painted-bollywood-movieposters/). The Bollywood movie posters are one of the most interesting art form created through handpaintings, lithography. Thousands of lithographic posters were printed on cheap thin papers and were displayed on the billboards and the walls. This lithographic printing process is still in use by the commercial printers all over the world. Until the 1950s, vintage Bollywood movie posters were commonly printed via lithographic means, which eventually gave way to offset printing till the late 1980s. These Bollywood movie posters, once printed, were handed over to Bollywood movie publicity agencies as well as distributors and cinema theatres which in turn plastered http://www.casirj.com Page 280
these Bollywood movie poster prints on every available inch of wall space. The trend continued unabated until the late 1970s when restrictions on outdoor advertising on walls started to gradually come up. Areas (walls) on which Bollywood movie posters were traditionally plastered on for years, were now declared no-bill zones, and the act made a punishable offence to deter advertisers. As such, the utilization of Bollywood movie posters for film publicity began to decrease marginally in urban areas (http://hippy.in/origins-and-history-of-hand-paintedbollywood-movie-posters/). 2. Method While the film poster as an aspect of modern visual culture has been the subject of some academic enquiry (Mazumdar, 2014). Gestalt theory is used to analyse series of posters along with the design elements including colour, typography, graphics and overall composition. It has been observed that most of the film posters have multiple posters. Posters considered for this research are randomly downloaded from Amazon.com, ebay.com and imdb.com which were there for sale. If communication is the means of transmitting ideas from sender to receiver, is graphic design a neutral carrier or a transparent medium (Noyan, 2009). The relationship between signifier and signified is arbitrary as well as a product of cultural choice and agreement (Noyan, 2009). According to Armstrong, The Graphic Design is a discipline that continually moves between extremes-anonymity and authorship, the personal and the universal, social detachment and social engagement. Through such positions designers position and re-position themselves in relation to the discourse of design and broader society. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated. Raj Kapoor s movie posters are analysed through the methods of Gestalt theory and their visual characteristics explored through six components of Gestalt theory. One colour palette is created that consists of the basic colour use for the posters. Two stages are involved to analyse the individual movie posters: the first stage provides the basic information about the movie such as realising year, director and the brief storyline of the movie and from which website the movie poster is downloaded for this research; and the second stage provides the actual visual analysis with the theoretical approach. The image of the movie poster is placed along with the colour palate created by the researcher to analyse the colour of the movie poster. The questions addressed in this research to analyse the posters are: 1. What are the colour, font and background of the movie title? Is the text of movie title readable? http://www.casirj.com Page 281
2. Who are the actors shown on the movie poster? What is the meaning of that iconography? 3. Does the overall frame of the movie poster accurately represent the mood and tone of the movie? 4. Is there any other text, like slogan, songs, dialogue presented on the movie poster to convey the story of the movie? 5. What are the colours used on the movie poster? Is that colour effectively communicable? 6. What component of Gestalt theory is used to design the movie poster? How is it used? 3. Analysing Raj Kapoor s directorial movie poster In this research ten posters are being analysed including Aag (1948), Barsaat (1949), Awara (1951), Shree 420 (1955), Sangam (1964), Mera Naam Joker (1970), Bobby (1973), Satyam Shivam Sundaram (1978), Prem Rog (1982), and Ram Teri Ganga Maili (1985). 3.1 Movie Poster: Aag Aag (translated as fire in English) is a 1948 film, produced, directed and starred by Raj Kapoor. The film marked the debut of Raj Kapoor as producer and director and this was the first film produced under his R.K. Banner. It was the first of many films he acted with Nargis. The poster used for this research is downloaded from Amazon.com. The title of the movie is written in serif font with black, yellow and red outline. This bright, readable movie title is able to catch the viewer s attention. Raj Kapoor s name is also written in serif font. The rest of the information is written in sans serif font. The black/white picture of Raj Kapoor and Nargis is placed on the bright red (fire) and black background. The frame used in poster shows portrait of Raj Kapoor and Nargis on bright red background. There is no slogan on the movie poster. Red colour dominates the poster design. The next colour used in this poster is http://www.casirj.com Page 282
yellow. The both colours symbolise the fire successfully. Gestalt theory s proximity principle is successfully used to represent the fire. 3.2 Movie Poster: Barsaat Barsaat (rain in English) is a 1949 film directed by Raj Kapoor. The film is starring Raj Kapoor and Nargis. Barsaat was one of the first major hit films directed by Raj Kapoor. The poster considered for this research is downloaded from Amazon.com. According to the collections (http://collections.vam.ac.uk/item/o62259/barsaat-1949-rainbooklet-studio-s-m/), the much acclaimed poster and publicity for the movie were illustrated by the master artist Dr S.M. Pandit. Material and technique used for this poster is lithograph on paper. One of the posters showing the heroine dangling on the arm of the hero would go on to inspire the R K Studios famous logo. The poster frame reflected the romantic mood of the movie. The movie title is written in two languages Hindi and English. The English title is written in sans serif font. Both movie titles are readable due to bright red and yellow colour font placed on the opposite background. The texture details of rain are used on the background and on the foreground title (Hindi) to represent the tone of the movie. Gestalt theory s similarity principle is implemented successfully through the big close-up of Raj Kapoor and Nargis and a small full view of protagonist Pram Nath with his violin and Nimmi placed on the bottom line of the poster. On the top of this poster the movie song was written in Hindi along with the music notes. Writing the few lines of song on the movie poster definitely convey the tone and mood of the movie. Blue background (some portion) and blue text represents rain (barsaat). The appropriate use of the colours makes the poster visually effective. http://www.casirj.com Page 283
3.3 Third Movie Poster: Awaara Awaara (sometimes spelled as Awara) is a 1951 blockbuster film directed and produced by Raj Kapoor, featuring him in a leading role opposite Nargis. The movie poster considered for this research is downloaded from Amazon.com. Raj Kapoor and Nargis had an unbeatable chemistry together, which showcased the sensuality and beauty of Nargis to perfection. This is reflected on the poster frame with a large, dreamy hand painted close up of Nargis. Raj Kapoor s tramp character in the film was influenced heavily by Charlie Chaplin as is evident from his hand drawn portrait in the poster. The name of the film title was written in serif font with red and black outline. The title of the film creates major attention due to its size, colour and outline. The names of the director and music director were written with a different typography (sans serif) and colour. The thin white outline of Raj Kapoor s painting separates the background (Nargis) and the foreground (Raj Kapoor) of the movie poster. The mood and tone of the film are appropriately projected through this movie poster. Colour of this poster also plays an important role since the original film was black and white. Gestalt similarity principle is used for iconography and proximity is used for typography (http://www.bollywoodmovieposters.com). 3.4 Movie Poster: Shree 420 http://www.casirj.com Page 284
Shree 420 was released in 1955, directed and produced by Raj Kapoor, and the film featured him in a leading role opposite Nargis. The beauty of Nargis and the characteristic of Raj Kapoor are properly portrayed on the poster. This vintage poster is hand painted, hand drawn and photographic. The poster used for this research is downloaded from bollywoodmovieposters.com. The framing of the poster represents two main characters (Raj Kapoor and Nargis) in a close-up view on the foreground and their full view is placed in the background. The movie title is written in two opposite colours (red and yellow) with a black outline. The font use for the title is serif and the other information written in san serif. The size, colour and position of the movie title not only increase the readability but also create a maximum visual attention. The mode and tone of the movie is portrayed through the colour and the close and full view of Raj Kapoor and Nargis. A thin, white outline used around Raj Kapoor s picture to differentiate the foreground and background portrays him like an awara. No particular slogan is used on this poster. The logo of R.K. films is placed on the left top corner. Gestalt s similarity and proximity principles apply for the representation of iconography and typography. The close-up view of Raj Kapoor and Nargis is grouped in such a nice way that it represents the romantic film iconography. Similarly the full-long view of the same stars creates a sense of Gestalt s similarity principle. The title of the movie represents the Gestalt s law of proximity (http://www.bollywoodmovieposters.com/). 3.5 Movie Poster: Sangam http://www.casirj.com Page 285
Sangam (Confluence or Union in English) is a Bollywood romance film produced and directed by Raj Kapoor in 1964. Vyjayanthimala is in the lead role opposite to Raj Kapoor and Rajendra Kumar. Sangam was Raj Kapoor s first colour film, distinguished by its Technicolor and epic length. The poster is downloaded from Amazon.com for this research. This is the most well-known poster of Sangam. We see the three stars in the poster and recognize iconography of a triangular love story. A red ribbon is placed around all three figures. In the background we see monuments of Europe not identified clearly (Mazumdar 2014). Gestalt similarity and proximity principles are successfully used with these three main stars. The title of the movie is written in both languages, Hindi and English. The English title is placed on the top of the poster with red colour and black outline. Font use for the title is serif and rest of the information is in sans serif font. There is no specific colour in the movie poster, except the red bright ribbon which draws the maximum attention. The frame of the movie poster conveys the mood and tone of the movie successfully. 3.6 Movie Poster: Mera Naam Joker Mera Naam Joker (My Name is Joker) is a Hindi film directed by Raj Kapoor in 1970. Mera Naam Joker is Raj Kapoor s semi-autobiographical story of the life, love, and philosophy, as an entertainer. http://www.casirj.com Page 286
To analyse the movie posters for this film, two posters available in ebay.com were considered. The reason behind considering the two posters particularly for this movie is that one poster considered only the relation between Raju and his doll, which is used as a metaphor. The other poster presents not only the iconography of Raju s character but also simultaneously the two leading women in his life and presents the mood and tone of the characters. The typography of this movie poster is completely different from previous posters. In the first poster, the film title is written in two languages: Hindi (top) and English (bottom). The English title is written in serif font with two alternate colours, red and blue. The English title is placed on a yellow circular background, which matches with the multi-coloured stripped background of the poster. Both the backgrounds and the English title represent the colourful life of Raju. The Hindi title is written in red with white outline, placed on blue background. The film titles are readable and also convey the mood of the film. The rest of the information of the poster is written in sans serif font. A frame showing Raj Kapoor s self-portrait with the doll is used as a metaphor. A hand painted smiling face of Raj Kapoor represents a strong iconography of the storyline. The overall design of this movie poster strongly represents the mood and tone of the film. Gestalt similarity principle is used to represent Raju and his doll. Proximity is used to place the textual information. In the second poster, a frame is given showing Raju, a joker with his doll and two women he loves and loses. The movie title is written in two languages, Hindi and English. The Hindi title is more readable and draws maximum the viewer s attention. It has more weightage than the English title. The English title is written on the top left corner of the poster, the font used is serif, written in three colours, Yellow, White and Blue, with maximum readability since it is placed on http://www.casirj.com Page 287
the opposite red colour background. It also has a doll use as a metaphor on the film poster. The Gestalt s similarity and proximity principle is used for iconography and typography. 3.7 Movie Poster: Bobby Bobby was made in 1973, directed by Raj Kapoor. The movie was a trend-setter. It introduced in Bollywood the genre of teenage romance with a rich versus poor clash in the backdrop. The movie poster used for this research is downloaded from imdb.com. In this poster we see the two stars with a strong sense of romantic film iconography. The frame is of light blue background with the same coloured picture of Raja (Rishi Kapoor) and Bobby (Dimple Kapadia) slightly merged with the background. These background images mostly covered the frame. On the foreground, the coloured images of the same stars paired with a white outer glow convey the mood and tone of the movie. The movie title, written in serif font with chocolate Brown colour, achieved maximum readability. Huge computer generated effect has been observed in this poster including movie title. Rest of the information is written in sans serif and serif fonts. Gestalt s similarity and proximity principles are successfully implemented to present the image and typography. The artists names are effectively grouped (proximity) on the bottom line of the poster. 3.8 Movie Poster: Satyam Shivam Sundaram http://www.casirj.com Page 288
Satyam Shivam Sundaram (The True, The Good and The Beautiful) was directed and produced by Raj Kapoor in 1978. Satyam means Truth, Shivam refers to Lord Shiva or the Eternal, while Sundaram means Beauty. The wide screen movie poster used for this study is downloaded from londonhollywood.files.wordpress.com. In this movie poster we see two opposite views (one front view and one side view) of Rupa (Zeenat Aman) presenting the sexuality and helplessness of Rupa in the movie. The close view of Rajiv (Shashi Kapoor) in between the two opposite views of Rupa presents his love and hate for the same girl. The title of the movie is written in Hindi and English. Both titles have the same kind of 3D perception effect with an illustration of sun in same colour. The English title is written in serif font with red and blue colour placed on a white thick outline. Sun is a metaphor here, since all the time Rupa prefers to meet Rajiv at night. The background of the movie poster represents the night scene. The rest of the information is written in sans serif font with white thick outline. The computer generated visual effect can be observed in this movie poster. Gestalt similarity principle is used on Rupa s pictures. Title of the movie and the illustration of the sun are associated with the typography. These objects are similar to each other and thus tend to be seen as a unit. The colour of this movie poster presented on the palate is created in such a way to inspire analyses. 3.9 Movie Poster: Prem Rog Prem Rog (Love Disease) is a romantic film directed by Raj Kapoor in 1982. In Bollywood this was a successful attempt of Raj Kapoor in combining entertainment with social themes. The film is long but deals in some detail with the issue of widow remarriage. The movie poster used for this research is downloaded from imdb.com. http://www.casirj.com Page 289
In this poster, the background is blue sky with the merged picture of Shammi Kapoor s face with the same colour tone. On the foreground the pictures of Manorama (Padmini Kolhapure) and Deodhar (Rishi Kapoor) dressed in white cloth present a strong iconography of spiritual love. The movie title is written in red with white thick outline and the font used for movie title is serif. The rest of the information is written in sans serif font mostly in white colour. The movie title draws the maximum attention due to its background and the opposite red colour of the font. The movie poster shows the digital imaginary and computer generated background. Gestalt s law of proximity explains the placement of logos and the names of the stars written on the bottom line of the poster. The same bottom line typography approach has been observed in Bobby movie poster to present the name of the stars. 3.10 Movie Poster: Ram Teri Ganga Maili Directed by Raj Kapoor, Ram Teri Ganga Maili ( Ram, your Ganges is polluted ) was released in 1985. Mandakini and Rajiv Kapoor, son of Raj Kapoor, were the lead stars. The film became very controversial owing to the bold scenes of Mandakini. The movie poster considered for this research is downloaded from ebay.com. The title of the movie poster and other information is written in Hindi. The title of the movie is written in orange and red gradient colour with a black thick outline. In this poster the Gangotri is used as a background. A frame printed is showing a full view of Ganga (Mandakini), dressed in white and a close-up face of Narendra (Rajiv Kapoor). The Ganga s white dress is a metaphor to present Ganga (Mandakini) as clean. Gestalt s law of proximity shows with the placement of typography. The overall framing of the poster conveys the mood and tone of the movie successfully. http://www.casirj.com Page 290
4. Conclusion There is no exact set of rules when it comes to design a movie poster by using different design elements and principles. The artistic freedom, which is the guiding force behind every design, may rely on the fact to communicate the basic information about the movie. Right from the inception of a movie, the posters play an important role for the promotion of the movie. One interesting thing observed in this research and not considered while framing the research question is regarding the language used for the movie title. It is observed that, out of eleven posters (on ten movies), five posters have written the movie title in both languages, Hindi and English. Rest of the five posters used only English title and only one poster used Hindi language for the title. This observation is important since the communication medium of the movie was Hindi but the most effective promotional medium used exclusively English in five and chose either one language or the both languages. The movie title is the most important information on the poster about the movie. This observation concludes that the audience came from varied socio-economic levels and of course heterogeneous in nature. With this research, eleven posters of ten movies of Raj Kapoor in a wide historical period (1948-1985) were analysed based on the parameters such as title of the movie including its colour, font and readability. Besides, the slogan, song or dialogue used to convey the tone and mood of the movie, and also the iconographic representation of the poster were taken as parameters. Colour is a vital component of communication. In this research, the researcher analysed the colour used for the posters by creating individual colour palette for each poster. The researcher tried also to find whether any kind of similar colours were used or not for all these eleven posters. The Gestalt principle is used to analyse the design principles employed for the designing of these posters. All the movie titles are readable due to their bright colour, large size and the background used for the posters. Red, Yellow and the Black are the most commonly used colours for all the posters. Nine posters used serif font for the title, and so serif is the mostly used font for the title of the movie posters. Red is the common colour used for the movie posters. The Bobby and Prem Rog movie posters used computer generated effects for the movie title, such as Drop Shadow, Outer Glow, Bevel and Emboss. Both the movie posters used the similar typographical style to write the name of the movie stars. The second question addressed for this research is the names of the actors shown on the movie poster. What is the meaning of that iconography? All the movie posters used the main characters, hero and heroine of the movie. The iconography of all the movie posters successfully represents the mood and tone of the movie. The observations for the third and fourth questions are, the overall frame of the movie posters, including iconography, typography, and colour successfully representing the tone and mood of http://www.casirj.com Page 291
the movie. Only one movie poster, Barsaat used movie songs line written in Hindi along with the music notes. Rest of the ten posters have not used any slogan, dialogue or song. The colours of the movie posters are bright and able to draw the viewer s attention. Red is the most commonly used colour. A similarity has been observed on the Bobby and Prem Rog movie posters, regarding colour scheme, computer generated background and typography. Only two principles of Gestalt, similarity and proximity, are found used to design the posters. Out of eleven posters five posters use both the principles. Rest of the six posters use either of the principle in an equal percentage. Proximity principle, also known as Grouping, is mainly used for the typography and similarity use for presentation of graphics. With this research it is observed that there is a lot of similarity regarding the colour and font used for the movie posters. At the same time it is also observed that the designing medium of these movie posters has seen changes over the time from 1948 to 1985. The initial posters were made by handmade lithographic print, and then Cut Paste technique was used, and at a later stage technology played a vital role in designing the posters. The designing approach and technique have changed over this period of time. Bibliography Armstrong. (2009). Graphic Design Theory: Readings from the Field. New York: Princeton Architectural Press. Abraham. (2011, November 9). 10 movie postercliches. Retrieved April 11, 2014, from http://twentytwowords.com/10-movie-poster-cliches-with-plenty-of-examples Analysing a film poster. (n.d.). Retrieved April 8, 2014, from http://brianair.wordpress.com/film-theory/analysing-a-film-poster/ Armstrong. (2009). Graphic Design Theory: Readings from the Field. New York: Princeton Architectural Press. Bollywood Movie Posters. (n.d.). Retrieved April 8, 2014, from http://www.bollywoodmovieposters.com/actor/raj-kapoor/ Collections. (2014, April 28). Retrieved April 14, 2014, from http://collections.vam.ac.uk/item/o62259/barsaat-1949-rain-booklet-studio-s-m/ Carpenter. (2011, Feb 11). 7 Elements of a Great Movie Poster Design. Retrieved April 13, 2014, from http://www.webdesignerdepot.com/2011/02/7-elements-of-a-great-movieposter-design/ Chatterjee. (2014, January 21). 100 yrs of Indian cinema through scrapbook memories- a visual tribute. Retrieved April 14, 2014, from http://www.casirj.com Page 292
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