British audiences were in a awe of the larger-than-life cinematography and grandeur of the US biblical hit ‘Quo Vadis’, effectively captured in this lavish and dynamic poster. The film’s production in MGM Technicolour is highlighted here to reinforce the technologically-advanced American film studios.

The poster immediately presents this film as ‘the greatest epic of all!’, shouting out the grandeur of this spectacle that was ‘The Ten Commandments’. This also serves as a mirror for the superiority of the film’s makers, and by extension, America’s economic and technological might. The American Moses dramatically smashing down on the totalitarian Egyptians reinforces this idea of American power in a post-war world.

The ideological war in ‘Ben Hur’ parallels the Cold War tensions in 1950s and 60s. The colossal fight against communism fronted by the US is echoed even in the poster, the sense of power and military threat represented unmistakably through the comparisons with the Roman Empire and their military prowess.

The central focus of horror here is Victor Caroon’s mutated arm. It serves as a metaphor for the subversive and pervasive

spread of Communism – a ‘terror’ whose origins are unknown. The mutated arm also physically illustrates the terrible consequences of being ‘infected’ by the deadly

Communist ideology.

Anti-Communist suggestions are further seen in the Quatermass sequel, Quatermass 2. The monstrosity and ‘otherness’ of the alien form depicted in the poster is implicitly extended to the threatening Communist ideology. The destructiveness of the spread of this red menace is also represented by the explosion seen at the bottom of the poster and woman’s expression of pure terror.

The sense of nostalgic allied unity resounds through this poster with the representation of soldiers from the Allied forces. Nationality is de-emphasised, and instead focus is given to the united effort in triumphing over the German adversary. This is seen in the poster where the soldiers loom large over the scene of war, representing their impending victory.

This poster shows a warming representation of the teamwork and cooperation between the American and the British soldiers, as they attempt a

mass escape from the German POW camp. Their tactics to evade capture, depicted to be a success in this poster as the soldiers run from the searching lights, would have evoked a sense of pride for having outsmarted the enemy.

This poster depicts a comically shambolic American leadership in a satirical reflection of the American government, as seen from the cartoonish illustration. The scandalising female arms wrapped around the Russian President as he speaks with the American President over the hotline also does little to shore up confidence for the world leaders’ competence in handling the Cold War.

Audrey Hepburn is depicted here as extremely fashionable and sophisticated. The projection of glamour and physical perfection

would have appealed to many Britons in a time of emerging consumerism and materialism (influenced by America).

The rebellion against conformity (established by the Americans) represented in Hepburn’s eccentric role in ‘Funny Face’ is shown

vividly here in her modernist, wild jazz dance choreography. It also serves as a firm rejection of conventional Hollywood styles.

In this poster, we see the smooth and stylish American sweeping the European Princess Ann off her feet. Underlying their romance is the implicit message that happiness and success can only be achieved by a coupling with America.