This is the first book to be published on one of the greatest American designers of the 20th Century, who was as famous for his work in film as for his corporate identity and graphic work. With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man With The Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick s Spartacus in the early 1960s to Martin Scorsese s Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century.

The Covid-19 lockdowns caused people worldwide to be confined to their homes for longer and on a greater scale than ever before. This forced many unprecedented changes to the way we treat domestic space - as relationships shifted between the public and the private worlds, and homes were rapidly adapted to accommodate the additional roles of schools, offices, gyms, restaurants, making-spaces and more. Above all, our understanding of the home as a site to support and enhance the well-being of its inhabitants changed in a variety of novel ways. Interiors in the Era of Covid is a collection of essays which explore the complex ways in which our inside spaces (contemporary and historical) have responded to Covid-19 and other human crises. With case studies ranging from US and Europe to Japan, China, Colombia, and Bangladesh, this is a truly global work which examines wide-ranging subjects from home-working and home technologies, to the impact of lockdown on people's identities, gender roles in the home, and the realities of domestic living with Covid in refugee camps. Exploring the roles played by designers (both amateur and professional) in accommodating changing requirements and anticipating future ones - whether Covid or beyond - this book is a must-read for students and researchers in interior design, architecture, architectural and design history, and anyone interested in the home and the relationships between health and design.

Covering everything from Hollywood films to Soviet cinema, London’s queer spaces to spaceships, horror architecture and action scenes, Screen Interiors presents an array of innovative perspectives on film design. Essays address questions related to interiors and objects in film and television from the early 1900s up until the present day. Authors explore how interior film design can facilitate action and amplify tensions, how rooms are employed as structural devices and how designed spaces can contribute to the construction of identities. Case studies look at disjunctions between interior and exterior design and the inter-relationship of production design and narrative. With a lens on class, sexuality and identity across a range of films including Twilight of a Woman’s Soul (1913), The Servant (1963), Caravaggio (1986), and Passengers (2016), and illustrated with film stills throughout, Screen Interiors showcases an array of methodological approaches for the study of film and design history.

A fascinating look at one of the most experimental, volatile, and influential decades, Film, Fashion, and the 1960s, examines the numerous ways in which film and fashion intersected and affected identity expression during the era. From A Hard Day's Night to Breakfast at Tiffany's, from the works of Ingmar Bergman to Blake Edwards, the groundbreaking cinema of the 1960s often used fashion as the ultimate expression for urbanity, youth, and political (un)awareness. Crumbling hierarchies brought together previously separate cultural domains, and these blurred boundaries could be seen in unisex fashions and roles played out on the silver screen. As this volume amply demonstrates, fashion in films from Italy, France, England, Sweden, India, and the United States helped portray the rapidly changing faces of this cultural avant-gardism. This blending of fashion and film ultimately created a new aesthetic that continues to influence the fashion and media of today.

A fascinating look at one of the most experimental, volatile, and influential decades, Film, Fashion, and the 1960s, examines the numerous ways in which film and fashion intersected and affected identity expression during the era. From A Hard Day's Night to Breakfast at Tiffany's, from the works of Ingmar Bergman to Blake Edwards, the groundbreaking cinema of the 1960s often used fashion as the ultimate expression for urbanity, youth, and political (un)awareness. Crumbling hierarchies brought together previously separate cultural domains, and these blurred boundaries could be seen in unisex fashions and roles played out on the silver screen. As this volume amply demonstrates, fashion in films from Italy, France, England, Sweden, India, and the United States helped portray the rapidly changing faces of this cultural avant-gardism. This blending of fashion and film ultimately created a new aesthetic that continues to influence the fashion and media of today.

A survey of spectacular breadth, covering the history of decorative arts and design worldwide over the past six hundred years Spanning six centuries of global design, this far-reaching survey is the first to offer an account of the vast history of decorative arts and design produced in Africa, the Americas, Asia, Europe, the Indian subcontinent, and the Islamic world, from 1400 to the present. Meticulously documented and lavishly illustrated, the volume covers interiors, furniture, textiles and dress, glass, graphics, metalwork, ceramics, exhibitions, product design, landscape and garden design, and theater and film design. Divided into four chronological sections, each of which is subdivided geographically, the authors elucidate the evolution of style, form, materials, and techniques, and address vital issues such as gender, race, patronage, cultural appropriation, continuity versus innovation, and high versus low culture. Leading authorities in design history and decorative arts studies present hundreds of objects in their contemporary contexts, demonstrating the overwhelming extent to which the applied arts have enriched customs, ceremony, and daily life worldwide over the past six hundred years. This ambitious, landmark publication is essential reading, contributing a definitive classic to the existing scholarship on design, decorative arts, and material culture, while also introducing these subjects to new readers in a comprehensive, erudite book with widespread appeal. Distributed for the Bard Graduate Center

This collection of 20 iconic film posters by Saul Bass, one of the greatest American designers of the 20th century, is a must for graphic designers and film fans. Each poster is removable and designed to fit the standard frame size 12 x 16 inches. The posters included are: The Man with the Golden Arm; Saint Joan; Love in the Afternoon; Bonjour Tristesse; The Big Country; Vertigo; Anatomy of a Murder; Exodus; Spartacus; The Magnificent Seven; Advise & Consent; The Cardinal; In Harm's Way; Bunny Lake is Missing; Seconds; Grand Prix; The Fixer; Such Good Friends; The Shining; Schindler's List.