x 41, allowing the poster to fit within the glass casing outside theatres. This was called the "one sheet" poster. These posters included texts and images supplied by the movie production company. A constant dispute among associates in the production company was whether to showcase star actors on their movie posters. The producer's objective was to sell their product, the movie, through advertising. On the other hand, the stars demanded that these posters should be a reflection of them and their talents. Movie studios hired illustrators to produce posters that were artistic as well as inventive, constantly trying to find ways to appeal to the biggest audience. During the pre-television era of the 1950s, poster art became the typical way of movie advertising, consisting of the desirable image of a movie star with some text or other images explaining a part of the movie history. The portrayal of African Americans on these movie posters was very different from that of whites. American posters had a cross-cultural view of images of African Americans. American posters tended to marginalize the black presence and limit romantic images between African Americans. However, foreign posters showcased African Americans and highlighted their romantic roles. Early American films were concerned with racial imagery. Some films made for black audiences by white producers exhibited extreme racial categories. The "hero" of these films was often a white male of upper-class status. For instance, a poster for the Norman Studio-produced film Regeneration (1923) displayed a poster that was a preview for the movie but also reflected a societal stereotype. It showed a fair-skinned woman fearing the advanced of an intimidating dark-skinned man. This implied the threat of rape, which negatively portrayed the African-American man as a scary, harmful individual. Such posters started to create general stereotypes like, all women should fear African-American men. Yet, some studios created posters to rebut the negative images of African Americans. Some showed black men as hardworking, which was atypical of Hollywood's defined image of the African-American male. In later decades, poster images reflected social issues presented by "message films". "These included 'passing' in Lost Boundaries (1949), interracial romance in Island in the Sun (1957), and Jungle Fever (1991), and the youthful experience of racial prejudice in The Learning Tree (1969)." These images differed from the earlier images of the negative portrayals of African Americans. The new representation of African Americans on film posters showed