{"product_id":"battles-without-honor-and-humanity-仁義なき戦い-set-of-two-original-japanese-movie-posters-1973-1974-original-film-police-tactics-speed-poster-format-s296-s295","title":"“Battles Without Honor and Humanity” \/ 「仁義なき戦い」, Set of Two Original Japanese Movie Posters 1973–1974 — Original Film \u0026 Police Tactics — Speed Poster Format — S296 \u0026 S295","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eThis listing is for an exceptional \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eset of two original Japanese speed posters\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e produced for the first-release campaigns of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKinji Fukasaku’s \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eBattles Without Honor and Humanity\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1973\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eBattles Without Honor and Humanity: Police Tactics\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1974\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe set brings together two complementary designs from Toei’s landmark Japanese crime-film series:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePoster A — Battles Without Honor and Humanity: fallen figure and character portrait montage — Reference S296\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePoster B — Police Tactics: revolver and ensemble portrait montage — Reference S295\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether, the posters capture the series’ confrontational visual language: fragmented photography, forceful brush lettering, stark colour contrasts and imagery of violence and betrayal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese theatrical printings from their respective release campaigns\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, presented in the distinctive long, narrow \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003espeed poster format\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFilm background\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReleased in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1973\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBattles Without Honor and Humanity\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e follows \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eShōzō Hirono\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, played by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBunta Sugawara\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, as he becomes involved in organised crime amid the disorder of post-war Hiroshima Prefecture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBased on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKōichi Iiboshi’s\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e accounts drawing upon the memoirs of former yakuza \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKōzō Minō\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film presents a world of unstable alliances, personal ambition and repeated betrayal. Its screenplay was written by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKazuo Kasahara\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with direction by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKinji Fukasaku\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFukasaku’s restless camerawork, abrupt violence and documentary-like presentation challenged the romantic image of the honourable gangster. The film established the central characters and conflicts of a series that became a defining achievement of Japanese crime cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReleased in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1974\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003ePolice Tactics\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e is the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efourth instalment\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. It follows the escalation of gang conflict as public outrage and police intervention place the criminal organisations under mounting pressure. Alongside Sugawara, its ensemble includes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAkira Kobayashi, Tatsuo Umemiya, Nobuo Kaneko\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKunie Tanaka\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth films were distributed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eToei\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, whose emblem appears on the posters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Japanese poster campaigns\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese two designs advertise separate films within the same continuing series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1973 poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e introduces the original film through a sprawling fallen figure, pinned photographic portraits and a crowded background of faces. The \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1974 poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e intensifies this visual approach with torn-paper edges, an oversized revolver and an unexpected wildlife photograph.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTheir shared use of collage, aggressive typography and compressed vertical space gives the pair a strong visual relationship. The designs translate the films’ fractured loyalties and sudden violence into striking theatrical advertising.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDisplayed together, they offer a compelling comparison of the publicity for the series’ first and fourth entries.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePoster A — Battles Without Honor and Humanity: fallen figure and character portrait montage — S296\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first design is dominated by a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003elarge monochrome figure sprawled diagonally across the sheet\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, reproduced with a pronounced halftone texture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCropped legs cross the upper edge, while the fallen figure stretches through the centre towards the lower section. These opposing diagonals create an unsettled composition with little sense of stability.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFour small character portraits appear down the left side, presented as photographic prints held in place by illustrated drawing pins. Their arrangement suggests a collection of identities assembled for scrutiny, reinforcing the film’s network of competing personalities and loyalties.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe lower background combines \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eochre, orange-red and white\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, filled with a dense montage of faces. Across it, the title:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「仁義なき戦い」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eappears in enormous \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edark navy brush lettering\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe prominent red vertical copy reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「暗殺、裏切り、報復…… 残虐な死闘の日々の中で 怒り、苦悩する男たち！」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Assassination, betrayal, retaliation… Men raging and suffering through days of savage, deadly conflict!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSmaller black text refers to the real-world accounts behind the film, connecting its dramatic imagery to the campaign’s emphasis on recorded underworld history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe result is a forceful design whose photographic textures, crowded faces and sweeping calligraphy reflect the original film’s abrasive energy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReference: S296.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePoster B — Police Tactics: revolver and ensemble portrait montage — S295\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe second design opens with a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ered-brown photograph of a distressed man beside a wooden post\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, his mouth open and a blade visible nearby.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn irregular torn-paper border separates this scene from a band of monochrome character portraits below. Faces overlap and emerge from jagged edges, creating the impression of a fragmented photographic dossier.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the centre sits a particularly distinctive image: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehyenas gathered around a fallen animal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. This wildlife photograph gives literal visual form to the poster’s language of predation and survival.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBelow it, an enormous \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003erevolver with its cylinder swung open\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e cuts diagonally across the composition. A hand holding cartridges appears alongside the weapon, making the act of loading it a central part of the design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe red vertical headline reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「弱肉強食の凄惨なクライマックス」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“A gruesome climax in a world where the strong prey on the weak.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe series title:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「仁義なき戦い」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003efills the lower right in bold \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ered brush calligraphy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeside it, the subtitle:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「頂上作戦」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eappears in pale characters within a tall black panel. This is the fourth film, internationally known as \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003ePolice Tactics\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe combination of distressed figures, predatory animals and the oversized firearm makes this an especially confrontational example of Toei’s 1970s crime-film advertising.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReference: S295.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthenticity\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe two examples offered here are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese speed posters produced for the films’ respective first-release theatrical campaigns\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBattles Without Honor and Humanity — 1973\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eBattles Without Honor and Humanity: Police Tactics — 1974\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot reproductions or decorative reprints\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRelease and format note\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth posters use the long, narrow Japanese \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003espeed poster format\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, measuring approximately:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eS296 — 26 × 73 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eS295 — 26 × 75 cm\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis format allows a succession of portraits, scenes and promotional text to unfold vertically, giving both compositions a different visual rhythm from a conventional B2 sheet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe set comprises:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePoster A — Original film, fallen figure and character portraits — S296\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePoster B — Police Tactics, revolver and ensemble montage — S295\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBringing these two original release designs together offers an appealing opportunity for collectors of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKinji Fukasaku, Bunta Sugawara, Toei, Japanese yakuza cinema and 1970s poster design\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBoth posters are in excellent+ condition.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey retain strong colour, clear photographic imagery and bold, legible typography. Horizontal fold lines, light handling creases and gentle paper undulations are visible, particularly on the reverses.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth present extremely well, with their complementary compositions making an impressive paired display.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOnce framed, these posters will display excellently.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review the photographs carefully, including the reverses, as they show the exact two posters included in this listing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis listing includes:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOne original 1973 Japanese Battles Without Honor and Humanity speed poster — S296\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eOne original 1974 Japanese Police Tactics speed poster — S295\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey are now \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eover 53 and 52 years old, respectively\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot reproductions or reprints\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCertificates of Authenticity included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57347834675578,"sku":null,"price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-looking-at-an-art-gallery-wall_34_608f4362-c18a-4e66-8c1f-a1fc0052f9ce.jpg?v=1791181854","url":"https:\/\/japanposter.co.uk\/products\/battles-without-honor-and-humanity-%e4%bb%81%e7%be%a9%e3%81%aa%e3%81%8d%e6%88%a6%e3%81%84-set-of-two-original-japanese-movie-posters-1973-1974-original-film-police-tactics-speed-poster-format-s296-s295","provider":"Japan Poster Shop","version":"1.0","type":"link"}