""[Films] were not interested in classic cause and effect narratives, they were all about the singular vision of the named director/auteur," says Tim. "These films were visually stimulating, frequently surreal, with personal quirks, so the stills that were sent to Peter allowed him free rein to highlight certain subtexts.""
""The commoditisation of movies and the franchise derivatives, which has been an ongoing process, is only accelerating with the streaming giants acquiring traditional companies, which will likely mean ever more cookie cutter films and thus posters," says Tim. "Given that a lot of the posters Peter produced were for films made under repressive regimes, it would be interesting, in the present day, to see a Strausfeld poster for Iranian films by directors such as Mohammad Rasoulof or Jafar Panahi.""
Peter's posters served as an antithesis to Hollywood blockbusters, created for global auteurs including Fellini, Kurosawa, Truffaut, Bergman, Wajda and Satyajit Ray. The films prioritized singular directorial vision over classic cause-and-effect narratives and often featured surreal, visually stimulating content. The available stills allowed Peter freedom to emphasize subtexts, using names, faces and colour to communicate key elements and keeping designs direct. The rising commoditisation of movies and franchise-driven content, accelerated by streaming companies acquiring traditional studios, risks producing cookie-cutter films and posters. Peter taught graphic design at Brighton University and drew influences from international artists such as Käthe Kollwitz, Elizabeth Catlett, Hokusai and Abanindrath Tagore.
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