{"id":40988,"date":"2022-05-16T12:35:12","date_gmt":"2022-05-16T10:35:12","guid":{"rendered":"https:\/\/www.sciencefictionfestival.org\/il-poster-del-tsff-2022-firmato-da-graham-humphreys\/"},"modified":"2022-07-28T11:24:58","modified_gmt":"2022-07-28T09:24:58","slug":"il-poster-del-tsff-2022-firmato-da-graham-humphreys","status":"publish","type":"post","link":"https:\/\/www.sciencefictionfestival.org\/en\/il-poster-del-tsff-2022-firmato-da-graham-humphreys\/","title":{"rendered":"Trieste Science+Fiction Festival presents the 22st edition poster"},"content":{"rendered":"

Trieste Science + Fiction Festival, the most important Italian event dedicated to science fiction scheduled from 1 to 6 November 2022, unveils the poster of the 2022 edition: an original illustration created by the famous British artist Graham Humphreys, which boasts important awards and collaborations including the posters for the English market of <\/span>Evil Dead<\/b> and <\/span>A Nightmare on Elm Street<\/b>.<\/span><\/p>\n

\u201cMy love of science fiction films began in my childhood<\/span><\/i> – Graham Humphreys declares – <\/span>\u2018The War of the Worlds\u2019 (1953), \u2018The Day of the Triffids\u2019 (1962), \u2018Forbidden Planet\u2019 (1956) and \u2018When Worlds Collide\u2019 (1951), were particular standouts for my young imagination. I was especially entranced by the lurid <\/span><\/i>technicolour<\/i><\/b>… These and the Hammer Horror films of the same era, influenced the work that I still produce today. I have always been amused by the conspiracy theory of \u2018<\/span><\/i>lizard people<\/i><\/b>\u2019, so my focus is a humanoid astronaut with a lizard head. The skeletal limbs allude to the dangers of <\/span><\/i>space travel<\/i><\/b> that provide the theme for a number of classic sci-fi films, for instance \u2018The Incredible Melting Man\u2019 (1977), \u2018The Quatermass Experiment\u2019 (1955) and \u2018Alien\u2019 (1979).
\n<\/span><\/i><\/p>\n

Also represented, the rebellious nature of Earth\u2019s flora and <\/span><\/i>alien plant life<\/i><\/b>; some examples being \u2018The Day of the Triffids\u2019 (1962), \u2018The Thing\u2019 (1951), \u2018Invasion of the Body Snatchers\u2019 (1978), \u2018Little Shop of Horrors\u2019 (1986). The sci-fi films of the 1950\/60s were ridden with fears of nuclear peril; <\/span><\/i>mutant insects<\/i><\/b> and apocalyptic visions are represented in SF films such as \u2018Them!\u2019 (1954), \u2018Planet of the Apes\u2019 (1968) and \u2018Dr. Strangelove\u2019 (1964). <\/span><\/i>Robots<\/i><\/b> are a staple of the genre, but I wanted to go back to one of the classics of early cinema, the \u2018false\u2019 Maria, of \u2018Metropolis\u2019 (1927) – a design that appears to have provided a template for anything from \u2018Doctor Who\u2019s Cybermen to \u2018Star Wars\u2019 C3P0. The colour opportunities are intended to evoke the <\/span><\/i>psychedelia<\/i><\/b> of films like \u20182001: A Space Odyssey\u2019 (1968), \u2018Altered States\u2019 (1980) and \u2018Mandy\u2019 (2018).\u201d<\/span><\/i><\/p>\n

\u201cGraham Humphreys is a world renowned artist whose innovative designs have graced cinema marquees, video and DVD covers, record albums and convention walls for decades now. <\/span><\/i>– the new artistic director of the Trieste\u2019s festival <\/span>Alan Jones<\/b> states – <\/span>From the iconic Evil Dead poster in 1982 to the current collector editions for Arrow Video’s Italian sci-fi collection, Graham has redefined the art of commercial design with <\/span><\/i>a key fan perspective<\/i><\/b> and sells his original canvases at high prices to international collectors. I’ve known Graham for many years and his concepts for my <\/span><\/i>FrightFest<\/i><\/b> festival in London has positioned the event perfectly for its target audience. For the Trieste Science+Fiction 2022 poster I asked Graham to incorporate <\/span><\/i>vintage sci-fi movie imagery within a ‘Hammer meets Punk” dayglo look<\/i><\/b>. And he has delivered a poster that is destined to become a classic piece of work. As the new artistic director of Trieste S+F I couldn’t be prouder of what he has achieved”<\/span><\/i>.<\/span><\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

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