zedz wrote:And that's an incredible cover. Was it an unused poster image? It's so much stronger than any of the ones I've seen before, the best of which is the extreme close-up of Chang Chen, which is nothing special.
My impression from Taiwanese friends was that the criminal case the film dramatizes was very well-known in Taiwan, even nowadays, and that there's some kind of tag line on many of the posters for the film which invokes this, I believe? So I think the Taiwanese art for the film was reliant on the collective memory to do the promotion of the film. The image of Chang Chen on most of these is meant to be like that kind of poster where you're saying "This is about this famous crime this guy did," and then the image presented is saying "This is the guy that did it." The posters here do scream distress at the audience, in a way. In each instance, we're supposed to stare at the kid's face and feel as if something's not right.
Of course, for an audience who doesn't make that immediate connection to the source story, something with a more overt thematic concept, like the Criterion cover, makes a lot more sense. Still, they're lucky they aren't trying to make a smash of the movie with this cover. It's brilliant, but it's hardly commercial.
My favorite of these release posters is the Japanese one, on the far right––I have a chirashi of it, in fact. The image of Liu Zhiming is quite faded next to the over contrasted image of Chang Chen. The juxtaposition of the images is tense and disquieting. It's hardly a commercial image, either, though, I think. Whenever the imagery tries to convey some of the subtlety of the movie, that seems to take it out of the realm of commercial graphics in some way. Some of these posters go for a more gonzo, "ripped from the headlines" style of delivery. It's funny to imagine a viewer going in with salacious expectations and emerging, 4 hours later...in what sort of state? It's hard to imagine.