{"product_id":"kill-bill-original-release-japanese-b2-ticket-poster-2003-b2-ticket-poster-size-c-51-cm-80-cm-p230-copy","title":"“Kill Bill: Vol. 1” (キル・ビル), Original Japanese First-Release Ticket Poster 2003, Rare Extended B2 Format (c. 51 × 80 cm), with Original Used Ticket Section M143A","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eThis is an \u003cstrong\u003eoriginal Japanese first-release “ticket poster” produced in 2003 for Quentin Tarantino’s\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eKill Bill: Vol. 1\u003c\/strong\u003e\u003c\/em\u003e, starring \u003cstrong\u003eUma Thurman\u003c\/strong\u003e as The Bride. Released theatrically in Japan on \u003cstrong\u003e25 October 2003\u003c\/strong\u003e, the film was particularly significant within the Japanese market: its imagery, soundtrack, casting and action sequences openly celebrated the samurai, yakuza and martial-arts cinema that had profoundly influenced Tarantino.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis is \u003cstrong\u003enot the standard Japanese B2 theatrical poster\u003c\/strong\u003e. It was issued as an unusual \u003cstrong\u003eposter-type advance ticket \/ special viewing ticket\u003c\/strong\u003e, extending the normal B2 sheet to approximately \u003cstrong\u003e51 × 80 cm\u003c\/strong\u003e through the addition of a detachable ticket strip along the bottom.\u003c\/p\u003e\n\u003cp\u003eOn this example, \u003cstrong\u003ethe original ticket section has been detached and used, but importantly remains with the poster and is included in the sale\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eKill Bill: Vol. 1\u003c\/strong\u003e\u003c\/em\u003e follows \u003cstrong\u003eThe Bride\u003c\/strong\u003e, a former member of the Deadly Viper Assassination Squad who awakens from a four-year coma after being attacked at her wedding rehearsal. Discovering the loss of her unborn child, she begins a methodical campaign of revenge against those responsible.\u003c\/p\u003e\n\u003cp\u003eThe first volume moves between American revenge cinema, Shaw Brothers-inspired martial arts, spaghetti westerns, Japanese chanbara and yakuza films with extraordinary freedom.\u003c\/p\u003e\n\u003cp\u003eIts Japanese connections are fundamental rather than decorative. \u003cstrong\u003eSonny Chiba\u003c\/strong\u003e appears as master swordsmith \u003cstrong\u003eHattori Hanzō\u003c\/strong\u003e, while the Tokyo-set climax pits The Bride against \u003cstrong\u003eO-Ren Ishii\u003c\/strong\u003e, played by Lucy Liu, and the Crazy 88 inside the stylised House of Blue Leaves.\u003c\/p\u003e\n\u003cp\u003eThe result became one of the defining films of early-2000s popular cinema and one of Tarantino’s most visually recognisable works.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe poster is dominated by an enormous, yellow-tinted portrait of \u003cstrong\u003eUma Thurman as The Bride\u003c\/strong\u003e, dressed in the film’s now-iconic yellow-and-black tracksuit.\u003c\/p\u003e\n\u003cp\u003eAcross the foreground, she holds a \u003cstrong\u003eHattori Hanzō katana\u003c\/strong\u003e horizontally at eye level, its polished blade cutting sharply through the composition and giving the image an almost confrontational immediacy.\u003c\/p\u003e\n\u003cp\u003eAt centre is a stark \u003cstrong\u003eblack cross\u003c\/strong\u003e, violently slashed by a streak of blood-red paint.\u003c\/p\u003e\n\u003cp\u003eThe combination of \u003cstrong\u003eyellow, black and red\u003c\/strong\u003e reduces the campaign to an exceptionally simple and aggressive visual language: yellow for The Bride, black for revenge and death, red for the violence that drives the narrative.\u003c\/p\u003e\n\u003cp\u003eThe lower section carries the bold red typography:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUma Thurman\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eKILL BILL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003efollowed by:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“The 4th Film by Quentin Tarantino”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e“2003.October”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ekillbill.jp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe original \u003cstrong\u003eGAGA-HUMAX, Miramax and Universal\u003c\/strong\u003e marks appear beneath, anchoring the design firmly within the Japanese first-release campaign.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Bruce Lee connection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Bride’s yellow-and-black costume is one of the film’s most deliberate and recognisable cinematic references.\u003c\/p\u003e\n\u003cp\u003eIts design directly evokes \u003cstrong\u003eBruce Lee’s famous yellow tracksuit from \u003cem\u003eThe Game of Death\u003c\/em\u003e\u003c\/strong\u003e, transforming an already iconic piece of martial-arts imagery into the visual identity of Tarantino’s revenge epic.\u003c\/p\u003e\n\u003cp\u003eThat association gives this Japanese poster particular resonance. A Hollywood film deeply indebted to Asian genre cinema was marketed in Japan using an image already inseparable from one of martial arts’ greatest screen icons.\u003c\/p\u003e\n\u003cp\u003eThe brilliant yellow costume consequently became one of the defining images of \u003cem\u003eKill Bill\u003c\/em\u003e and has since become instantly recognisable in its own right.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe ticket-poster format\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhat distinguishes this example from an ordinary B2 is its original \u003cstrong\u003eposter-type special viewing ticket format\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eRather than issuing only a separate advance ticket, the campaign incorporated a \u003cstrong\u003edetachable voucher section directly into the poster\u003c\/strong\u003e, extending its overall height beyond the conventional Japanese B2 dimensions.\u003c\/p\u003e\n\u003cp\u003eThe ticket strip repeats the campaign typography in red against a dark background:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUma Thurman\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThe 4th Film by Quentin Tarantino\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e2003.October\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ekillbill.jp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThese sheets were designed with an inherent contradiction: to actually \u003cstrong\u003euse the admission ticket, the owner had to detach part of the poster\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAs a result, complete unused examples are particularly prized, while examples such as this—with the \u003cstrong\u003eticket genuinely used but retained alongside the original poster\u003c\/strong\u003e—offer a different and very tangible connection to the film’s contemporary Japanese release.\u003c\/p\u003e\n\u003cp\u003eThe detached ticket is therefore not a replacement or unrelated extra. It is the \u003cstrong\u003eoriginal ticket section belonging to this poster\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJapanese first-release significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJapan occupies an unusually important place within \u003cem\u003eKill Bill\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eTarantino’s film draws openly from Japanese samurai and exploitation cinema, while the Tokyo chapter contains several of the movie’s most celebrated sequences. The Japanese release campaign consequently feels unusually connected to the film itself rather than functioning simply as a localised version of American advertising.\u003c\/p\u003e\n\u003cp\u003eThis bold yellow ticket poster is one of the strongest examples of that campaign.\u003c\/p\u003e\n\u003cp\u003eIts unusual extended format, distinctive photographic design, original 2003 typography and surviving ticket component make it a particularly compelling piece for collectors of \u003cstrong\u003eQuentin Tarantino, Uma Thurman, Japanese cinema advertising and early-2000s film design\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExcellent condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003emain poster remains exceptionally well preserved\u003c\/strong\u003e, with strong yellow, black and red colour, clean photographic detail and excellent overall presentation. The katana, central blood-slashed cross and red title typography remain particularly sharp and visually striking.\u003c\/p\u003e\n\u003cp\u003eThere are only \u003cstrong\u003elight age-related handling and storage impressions, subtle surface creasing and minor natural paper undulation\u003c\/strong\u003e visible on close inspection.\u003c\/p\u003e\n\u003cp\u003eThe crucial condition point is that the \u003cstrong\u003especial viewing ticket has previously been detached and used\u003c\/strong\u003e. The original ticket strip has, however, been \u003cstrong\u003eretained and is included with the poster\u003c\/strong\u003e, as clearly shown in the photographs. The detached edge reflects its original functional use.\u003c\/p\u003e\n\u003cp\u003eThe reverse remains clean overall, with modest handling characteristics appropriate to an original promotional item from 2003.\u003c\/p\u003e\n\u003cp\u003ePlease review all photographs carefully; they show the \u003cstrong\u003eexact poster and original used ticket section for sale\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis is an \u003cstrong\u003eoriginal Japanese first-release poster-type special viewing ticket from the 2003 theatrical campaign for \u003cem\u003eKill Bill: Vol. 1\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eoriginal ticket was used and detached but is retained and included\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt is \u003cstrong\u003enot a reproduction or modern reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt is approximately \u003cstrong\u003e23 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57269023146362,"sku":null,"price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments_15_7781c9e9-6ced-4bba-8983-16bd0d44e559.jpg?v=1789432416","url":"https:\/\/japanposter.co.uk\/products\/kill-bill-original-release-japanese-b2-ticket-poster-2003-b2-ticket-poster-size-c-51-cm-80-cm-p230-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}