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Abstract: Culture has always been a guesstimated concept backed by hierarchy. This hierarchy was initiated by drawing a prominent line between 'High' art and 'low' culture or mass culture. This protuberant notion emanated from a generalised perimeter of thought guarding the framework of so called genuine cultural practices which are majorly meant to heighten and imprint intellectual, insightful, and aesthetic thoughts and taste in the audience's mind. Mediums which did not fit into such standards were for a significant period deprived of the 'high' art status. This seems quite contrary to the arena of culture as it not only stands for the procedure of developing one's taste but also includes aspects of literary works, artworks, lyrical compositions, architectures all that a society can produce. With the emergence of Modernism, Culture unleashed from the ambits of social status and class. Gradually, the understanding of Culture has managed to surpass the confinements of customs, beliefs, traditions, social expectations and become purely illustrious locution free from the shackles of morality, intellect, or aesthetic or aesthetic preferences; linked to conventional cultural practices.Such impulsive nature of culture often reflects in the autonomous functioning of societies or communities, particularly the non-western ones. This can be perceived by visual imageries or works of art related to culture, especially imageries related to advertisement and graphic design. Such mediums of visual communication have always been an effective mode in undergoing persuasion, especially the term 'Graphic Design' which primarily stands for different genres of designs for printing has always been the most prominent examples of audio-visual communication. Gradual advancements in technology led to the emergence of an array of new possibilities which worked in favour of the most crucial tools of visual communication, one of which is Poster. Though considered a product of 'low' culture, since it's guessed emergence, Posters have proven to be an amalgamation of imagery and words attributed to socio-political and cultural contexts. Due to the commercial and transient nature, it serves as a ground of experimentation for artists. Though dependent on other art mediums like painting, sculpture, photographs etc. its parasitic temperament has continued to evolve within confinements. More precisely, Film Posters have inherited the freedom of experimentation the most. The Western countries though got access to experiment on Film Posters earlier, the Indian Film Posters had a different narrative. Due to possession of two prominent streams of Cinema - Mass and Art, the film posters from the very beginning have supported strict distinctions while forming the stylisations of these two genres. While the Hindi film posters were mostly characterised by bright colours and bohemian essence and often actors appearing against hues of colour, this was not the case with Bengali Film Posters. Bengal during the 1940s and 1950s had a host of talented young designers working in British advertising agencies. The changing market demands of an independent nation amalgamated with the designer's own quest for showing a distinctive regional style reflective in the works of Annada Munshi, Makhan Dutta Gupta, Oroon Coomar Ganguly and especially Satyajit Ray. A visionary auteur like Ray, who not only directed films but also designed publicity materials for them is what shaped the visual culture of modern Bengali Aesthetics. The derivative nature of Cinema when presented in a compact static format of Film Poster is what proposes a designer turned director's legacy. This paper aims to undergo a visual analysis of Ray's Film Posters and understand Ray's interpretation of visual culture through them, subjected to varied range of themes and genres.