Oscars: Showcasing the Seventh Art

For the occasion of the ninety-third Oscars ceremony, YellowKorner is showcasing a selection of art photographs from its “Cinema” collection. This year, the prestigious Hollywood evening unfolds from 25 April in an historic train station in the heart of Los Angeles: Union Station.

Legendary Directors

At the age of 30, Frenchman Nicolas Guérin passed from the world of cinema to that of photography. This conversion did not however prevent him from continuing to rub shoulders with the stars of the seventh art throughout his career. He has created the portraits of several legendary directors such as Clint Eastwood, Quentin Tarantino, or Dennis Hopper.

Silence, We’re Rolling

The actress plays a cover girl. In 1956, Roger Vadim predicted that she would be “the inaccessible fantasy of all married men”. Eleven years later, Brigitte Bardot once again represented – in cinema and in the city, and for some time thereafter – the sensual woman who braved taboos to experience her passions.


Launching this collection were giant images by Kodak, in the hall of Grand Central Station in New York, which the firm used at the time to proclaim its photographic omnipotence. Used as advertising tools in the legendary Manhattan train station from 1950 to 1990, the plastered images were transparent and backlit, with exceptional dimensions spanning 18 metres wide by 6 metres high. This was a first in the world of photography. Through their spectacular, almost surrealistic stagings, these panoramas became communication tools in service to the promotion of the brand’s film and cameras. For over 40 years Kodak Colorama Display staged the story of ideal families with exemplary lives, without contradiction or contestation. In other words, the very expression of the post-war American dream, in its most pleasant and universally adoptable form.  ... See more See less

Marilyn Monroe in "Niagara"

Pour Kodak en 1950, les Coloramas sont la suite logique d'une stratégie marketing lancée 60 ans plus tôt. Profitant de ses avancées technologiques, Kodak souhaite démocratiser la photographie amateur et la faire entrer dans le quotidien des Américains. Kodak utilise la vitrine mondiale offerte par l'Exposition universelle de 1939 à New York.


Certes, les images de la collection Colorama servaient avant tout à la promotion commerciale de produits de la firme Kodak que l’on aperçoit dans chaque mise en scène. Ces panoramas en appellent au thème commun et classique du passage du temps, pour mettre en valeur la fonction de l’appareil-photo, moyen de saisir et de conserver les meilleurs instants d’une vie, qu’il s’agisse d’anniversaires, de réunions de famille, de mariages, ou de scènes de vacances.


Ces clichés monumentaux, par leur esthétique et leur ambition, dépassent cependant le simple constat publicitaire et la prouesse technologique. Ils racontent aussi l’histoire d’une famille idéale et produisent, par cette occasion, un discours volontairement patriote et conservateur sur l’Amérique des années 50 et 60. Dans cette promotion haute en couleur de l’ « American Way of Life », la contre-culture est inexistante et tout semble pur derrière les couleurs éclatantes et les sourires figés des personnages enjoués.