{"product_id":"slaves-of-new-york-ニューヨークの奴隷たち-original-japanese-first-release-movie-poster-1990-james-ivory-bernadette-peters-b2-size-51-73-cm-s281","title":"“Slaves of New York” (ニューヨークの奴隷たち), Original Japanese First-Release Movie Poster 1990, James Ivory \/ Bernadette Peters, B2 Size (51 × 73 cm) S281","description":"\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster\u003c\/strong\u003e produced for the \u003cstrong\u003efirst Japanese release of James Ivory’s\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eSlaves of New York\u003c\/strong\u003e\u003c\/em\u003e (\u003cstrong\u003eニューヨークの奴隷たち\u003c\/strong\u003e) in \u003cstrong\u003e1990\u003c\/strong\u003e. Produced in the United States in 1989, the film opened theatrically in Japan on \u003cstrong\u003e16 June 1990\u003c\/strong\u003e, distributed by \u003cstrong\u003eTri-Star \/ Columbia Tri-Star\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDirected by \u003cstrong\u003eJames Ivory\u003c\/strong\u003e, produced by \u003cstrong\u003eIsmail Merchant and Gary Hendler\u003c\/strong\u003e, and adapted by \u003cstrong\u003eTama Janowitz\u003c\/strong\u003e from her bestselling writing, the film stars \u003cstrong\u003eBernadette Peters\u003c\/strong\u003e, alongside \u003cstrong\u003eAdam Coleman Howard, Chris Sarandon, Mary Beth Hurt, Madeleine Potter, Mercedes Ruehl, Steve Buscemi, Anthony LaPaglia\u003c\/strong\u003e and \u003cstrong\u003eStanley Tucci\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSet within the fashionable but precarious creative world of \u003cstrong\u003e1980s Manhattan\u003c\/strong\u003e, \u003cem\u003eSlaves of New York\u003c\/em\u003e follows \u003cstrong\u003eEleanor\u003c\/strong\u003e, played by Bernadette Peters, an aspiring hat designer attempting to establish both an artistic identity and an independent life.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eEleanor is involved with \u003cstrong\u003eStash\u003c\/strong\u003e, an ambitious artist whose career and personality dominate their relationship. Around them moves an interconnected group of painters, designers, performers and would-be cultural figures—people drawn to New York by the promise of artistic freedom while simultaneously trapped by \u003cstrong\u003erelationships, money, status, fashion and the relentless pressure to be noticed\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than presenting Manhattan as a straightforward land of opportunity, the film explores the contradiction at the heart of its title: the characters regard themselves as liberated artists, yet repeatedly become \u003cstrong\u003e“slaves” to love, ambition, taste, image and the city itself\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese campaign leans strongly into that idea.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJames Ivory\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster prominently identifies the film as a work by the director of:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003e\u003cstrong\u003eMaurice\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003eand\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eA Room with a View\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy 1990, \u003cstrong\u003eJames Ivory\u003c\/strong\u003e was particularly associated in Japan with the elegant literary dramas made through his long collaboration with producer \u003cstrong\u003eIsmail Merchant\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eSlaves of New York\u003c\/em\u003e is visually and culturally very different from those period films.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eInstead of Edwardian drawing rooms and carefully ordered social rituals, Ivory turns his attention toward the \u003cstrong\u003edowntown New York art and fashion scene\u003c\/strong\u003e, filled with crowded apartments, galleries, bars, unconventional relationships and characters trying to transform creativity into a sustainable life.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat contrast was clearly useful to the Japanese marketing campaign, which foregrounds the director’s prestigious earlier work while presenting something far more contemporary.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese first-release design is an exceptional piece of \u003cstrong\u003elate-1980s \/ early-1990s graphic advertising\u003c\/strong\u003e, combining photography, hand-drawn typography and vivid spray-painted colour.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe enormous English word:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eSLAVES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003edominates almost the entire upper half of the poster.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eEach tall black letter is surrounded by a different blurred field of colour—\u003cstrong\u003egreen, pink, yellow, blue and red\u003c\/strong\u003e—creating the appearance of aerosol paint sprayed directly onto the sheet.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe letters feel deliberately imperfect and handmade rather than typographically precise.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBeneath them, the words:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eof New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eare written in a loose, black graffiti-like script.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe result immediately evokes the visual culture of \u003cstrong\u003edowntown Manhattan: street graphics, fashion, clubs, galleries and improvised urban design\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eBernadette Peters and the New York image\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMoving through the enormous title is \u003cstrong\u003eBernadette Peters as Eleanor\u003c\/strong\u003e, transformed into an almost fashion-editorial figure.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eShe wears a deliberately eccentric combination of \u003cstrong\u003epatterned skirt, floral leggings, boots, bright pink clothing and an elaborate green hat\u003c\/strong\u003e, while struggling with oversized shopping bags and walking a \u003cstrong\u003eDalmatian\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe image is funny, stylish and slightly chaotic.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than presenting Eleanor as a conventionally glamorous heroine, the photograph portrays her as someone almost physically overwhelmed by the objects, clothes and visual noise of New York.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat makes her an ideal embodiment of the film’s central idea: simultaneously participating in and being consumed by the city’s culture.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe pale urban background is reduced almost to a wash of white and grey, allowing \u003cstrong\u003ethe clothing, coloured typography and dog\u003c\/strong\u003e to stand forward with extraordinary clarity.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJapanese campaign copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the top appears:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「傷つきやすい不器用な男たち、女たち。\u003cbr\u003eつながりを求めて、とまどい……\u003cbr\u003eみな、ニューヨークの奴隷。」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eApproximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Vulnerable, awkward men and women.\u003cbr\u003eSearching for connection, losing their way…\u003cbr\u003eall of them slaves of New York.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe copy captures the film’s mixture of romantic uncertainty and social satire particularly well.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt lower right, the English campaign line reduces the concept even further:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Slaves of passion.\u003cbr\u003eSlaves of fashion.\u003cbr\u003eSlaves of New York.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe repetition turns the title into a concise statement about the characters themselves.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThey are not literal slaves to the city, but to the desires and identities the city encourages them to construct.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJapanese title\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt the bottom appears the Japanese title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eニューヨークの奴隷たち\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e— \u003cstrong\u003e“The Slaves of New York.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is rendered in enormous \u003cstrong\u003ered characters set against a bright yellow block\u003c\/strong\u003e, creating a deliberately loud collision with the more sophisticated black-and-colour treatment above.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat graphic clash feels entirely appropriate to a film about a cultural scene where \u003cstrong\u003ehigh art, street style, fashion and commercial ambition constantly overlap\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster also advertises the source material:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「原作は人気作家タマ・ジャノウィッツの全米ベストセラー小説」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e— identifying the film as an adaptation of \u003cstrong\u003eTama Janowitz’s bestselling work\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eJanowitz became closely associated with the literary culture of 1980s downtown Manhattan, and the film’s world of young artists, unstable relationships and social aspiration grew directly from that milieu. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eNew York at the end of the 1980s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSeen more than three decades later, \u003cem\u003eSlaves of New York\u003c\/em\u003e also functions as a period portrait of a particular cultural moment.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts characters inhabit a Manhattan shaped by \u003cstrong\u003eart, nightlife, fashion, precarious creative careers and the constant negotiation between artistic independence and commercial success\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese poster captures that period sensibility unusually well.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eInstead of relying on a conventional cast montage, it treats the entire sheet almost like a piece of \u003cstrong\u003efashion advertising or downtown graphic art\u003c\/strong\u003e, using one eccentric figure, a dog, giant typography and bursts of colour to communicate an entire cultural environment.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor collectors of \u003cstrong\u003eJames Ivory, Bernadette Peters, New York cinema and late-20th-century Japanese poster design\u003c\/strong\u003e, it is a particularly distinctive first-release image.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eVery Good+ \/ Excellent original condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster retains \u003cstrong\u003estrong, vivid colour\u003c\/strong\u003e, particularly across the spray-painted title effects, brilliant red-and-yellow Japanese typography and Eleanor’s highly patterned clothing.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe large black \u003cstrong\u003eSLAVES\u003c\/strong\u003e lettering remains crisp and visually dominant, while the photographic imagery retains very good definition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere are \u003cstrong\u003evisible historical storage folds\u003c\/strong\u003e, together with light associated creasing, surface impressions and modest age-related handling consistent with an original theatrical poster from \u003cstrong\u003e1990\u003c\/strong\u003e. These points do not materially detract from the principal artwork or overall visual impact.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review the photograph carefully; it shows the \u003cstrong\u003eexact poster for sale\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster from the film’s 1990 first Japanese release campaign\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003enot a reproduction or a reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is approximately \u003cstrong\u003e36 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCode: S281\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57284269998458,"sku":null,"price":135.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments_54_a2d983f7-00d3-4b82-b00c-be9b8009a5d3.jpg?v=1789773693","url":"https:\/\/japanposter.co.uk\/products\/slaves-of-new-york-%e3%83%8b%e3%83%a5%e3%83%bc%e3%83%a8%e3%83%bc%e3%82%af%e3%81%ae%e5%a5%b4%e9%9a%b7%e3%81%9f%e3%81%a1-original-japanese-first-release-movie-poster-1990-james-ivory-bernadette-peters-b2-size-51-73-cm-s281","provider":"Japan Poster Shop","version":"1.0","type":"link"}