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The Typeset of Wall·E (2018)
From a trash-filled Earth to the futuristic Axiom and back again, WALL·E is a finely crafted balance between consumerist dystopia and sixties space-race optimism. Please join me, then, for a detail…
Promotional poster for The Interview, with the Korean-language caption “Don’t believe these American bastards!”This aspirational style is an example of socialist realist design, the officially sanctioned visual aesthetic of the Soviet Union, which positioned broad-shouldered, purposeful workers as the true heroes of the age. In Luc Besson ’s over-the-top vision of the future, evil industrialist Zorg demonstrates his own array of task-specific robots by dropping a glass tumbler on the floor to trigger their “lovely ballet.” As two sentrybots stand guard, a sweeperbot, a spraybot, and a bufferbot clean up his mess before returning to a nearby storage station. Aboard the Axiom, it’s a PeopleMover (not a monorail) that fulfills the role of high-speed arterial transport, with individual BnL hover chairs completing the “final mile” of the journey via preset illuminated paths (blue for humans, white for robots, red for stewardbots).
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