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Овчарек, Володимир, Анна Штонда, Ярослав Дякон, Станіслав Потанін, and Богдан Чернявський. "Рекламна фотографія." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18129.
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Розглянуто фотографію, як складову візуальної реклами та визначено її основні характеристики як частини рекламного проекту. Визначено та виокремлено мету фотографії в рекламі.The photo as a component of visual advertising is considered, its main characteristics as a part of advertising are allocated, the purpose of a photo in advertising is allocated.
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Sliva, Jofre. "The aesthetic of illusion in advertising photography : an investigation of the aesthetic of illusion in advertising, 1980-1995, based on Peircean semiotics, and how photographic technologies have contributed to the consolidation of this aesthetic." Thesis, Open University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286954.
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Voith, Kathryn Lynn. "Recognition and Denotation of Photographic Manipulation." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1512670071235856.
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Callens, Anne-Céline. "Création photographique publicitaire et industrie. Le cas des Editions Paul-Martial." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES031.
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Durant la période de prospérité des années 1920, avec l’accroissement de la consommation résultant de la seconde révolution industrielle, de nouvelles stratégies commerciales se mettent en place. Alors que la publicité moderne en est à ses premiers balbutiements, les Éditions Paul-Martial — qui sont créées à Paris en 1926 — deviennent, grâce à leur fondateur Paul Martial Haeffelin, une des entreprises les plus novatrices dans le domaine. Elles proposent plusieurs types de prestations : la conception de lignes graphiques, de logotypes, d’affiches, d’annonces, d’encarts qui sont publiés dans les magazines, l’édition de brochures, catalogues et ouvrages publicitaires, ou encore la conception de stands d’exposition. L’entreprise se spécialise dans le domaine industriel. Elle est dotée d’un atelier de graphisme et de typographie, d’une imprimerie et d’un studio photographique. Entre 1929 et 1960, de nombreux reportages extérieurs sont également réalisés sur l’ensemble du territoire français à la demande de grandes sociétés comme la Compagnie des Forges et Aciéries de la Marine et d'Homécourt, les Établissements Arbel, la Société des aéroplanes Henry Potez, la SNCF, Schneider & Cie, Moët & Chandon ou encore l’OTUA. Les archives du studio photographique de l’entreprise sont aujourd’hui réparties dans quatre grandes collections : celle du musée d’art moderne et contemporain de Saint Étienne Métropole, celle du département des estampes et de la photographie de la Bibliothèque nationale de France, celle du Kunstmuseum de Bâle et celle du collectionneur Marc Pagneux. Elles permettent de constater que l’entreprise a œuvré à la promotion de l’industrie durant plus de trente ans en développant une esthétique photographique propre à l’époque, faisant preuve de nombreuses affinités avec l’avant-garde artistiqueDuring the prosperity period of the 1920’s, new commercial strategies are implemented since the consumers society expands as the result of the second industrial revolution. At the beginnings of modern advertising, the Éditions Paul-Martial — created in Paris in 1926 — became, thanks to their founder Paul-Martial Haeffelin, one of the most innovative compagny in this field.Specialized in the field of the industry, the Éditions Paul-Martial offer several kinds of services : the design of graphical lines, logos, posters, advertisements, inserts that are published in magazines, the edition of brochures, catalogs and advertising works, or the design of exhibition stands. The compagny is equipped with a workshop of graphic design and typography, a printing press and a photographic studio. From 1929 to 1960, many external reports were also made on the whole French territory at the request of large companies such as the Compagnie des Forges et Aciéries de la Marine et d'Homécourt, the Établissements Arbel, the Société des aéroplanes Henry Potez, the SNCF, Schneider & Cie, Moët & Chandon or the OTUA.Today, the archives of the company’s photographic studio are mainly divided into four large collections: that of the musée d’art moderne et contemporain de Saint-Étienne Métropole, of the departement des estampes et de la photographie of the Bibliothèque nationale de France, of the Kunstmuseum Basel and that of the Marc Pagneux collection. Their study allows to note that the Paul Martial editions have worked for the promotion of industry for over thirty years. During the years between the two world wars, the photographers of the company have developed an aesthetic which is characteristic of this period, having many affinities with the avant-garde art movement
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Lima, Cristina Schroeder. "Um jogo sem regras explícitas: investigação sobre o lugar das técnicas e das tecnologias nas leituras da fotografia publicitária." Universidade do Vale do Rio dos Sinos, 2013. http://www.repositorio.jesuita.org.br/handle/UNISINOS/4230.
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Esta dissertação tem como preocupação mais ampla compreender o impacto da associação de técnicas e tecnologias digitais ao processo produtivo da fotografia publicitária através e a partir das próprias fotografias postas em circulação pela publicidade nos últimos anos. Nesse sentido, as questões motivadoras das reflexões aqui desenvolvidas dizem respeito ao estatuto da fotografia na contemporaneidade e, em particular, da fotografia publicitária. Para enfrentar tal problemática de modo operacional optou-se por analisar as fotografias selecionadas no “Prêmio Fundação Conrado Wessel – Categoria Fotografia Publicitária”, entre os anos de 2003 e 2006, recorte legitimado pelos próprios agentes envolvidos com a prática da fotografia publicitária, já que o referido prêmio consolida-se como um lugar onde concepções, limites e valores inerentes a este campo tão fluído e poroso são firmados e afirmados tanto pela própria instituição como pelos agentes por ela mobilizados. Neste contexto empírico, buscou-se compreender e definir a diferenciação que a publicidade, através de suas práticas sugere para o conceito de fotografia; elaborar o lugar das tecnologias e técnicas de manipulação digital na construção de fotografias para a publicidade considerando as leituras possíveis; formular tensões entre a utilização destas técnicas e tecnologias e a nossa compreensão e leitura das imagens fotográficas no contexto publicitário; buscar inferências de definição de fotografia publicitária a partir das relações entre as dimensões semio-técnicas e os processos de leitura e produção da fotografia publicitária. Na análise das imagens procedeu-se, inicialmente, a uma leitura “interna”, de caráter técnico-iconográfico, e a seguir foram empregados recursos “externos”, em especial entrevistas, com a finalidade de devolver as fotografias ao seu contexto publicitário original.
This dissertation has as its wide preoccupation understand the impact of the association of techniques and digital technologies to the productive processes of advertising photography through and from actual photographs put into circulation by advertising in the last years. In this sense, the questions that motivated the reflections developed here concern the contemporary photographic statute and, in particular, of advertising photography. To face such problematic in a operational mode, we chose to analyze the finalist photographs at Prêmio Conrado Wessel – Advertising Photography Category, between the years of 2003 and 2006, a selection legitimated by the players involved in the practice of advertising photography, since the referred prize consolidates itself as a place where conceptions, limits and values inherent to this field so fluid and porous are consolidated and affirmed by the institution itself and the agents mobilized by it. In this empirical context, it was sought to comprehend and define the differentiation that advertising, through its practices, suggests to the concept of photography; elaborate the place of technologies and digital manipulation techniques in the construction of photographs produced for ads considering possible readings; to formulate tensions between the use of these techniques and technologies and our understanding and reading of photographic images in the advertising context; to seek for inferences about definitions of advertising photography out from the semio-technical relations and the reading and productive processes of advertising photography. In the image analysis it was proceeded initially a “internal” reading, of technical- iconographic character, and thereafter it was employed “external” resources, specially interviews, with the purpose of returning the photographs to its original advertising context.
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Zwiener, Nicole V. "One in Four." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/770.
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One in Four is an ad campaign targeted at raising awareness of on-campus sexual assault and the effects that assault has on survivors. This ad campaign will include testimonies of survivors of sexual assault within the Claremont Colleges and will be shared through social media and printed on physical flyers. This thesis will explore how marketing strategies, such as, social norms marketing, has the potential to change the audiences behavior in relation to their peers’ behavior. It will also explore the work of the Guerrilla Girls and how anonymity was crucial to their success. In addition, One in Four will examine the work of Barbara Kruger and her use of graphics and red text. Through the use of various marketing strategies and influence of the work of the Guerrilla Girls and Barbara Kruger, One In Four will be successful in it's goal of raising awareness, destigmatizing sexual assault and have survivors feel that their stories are important and they are not alone.
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Burmester, Cristiano Franco. ""Fotografia - do analógico para o digital: um estudo das transformações no campo da produção de imagens fotográficas"." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-24102006-145909/.
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Esta pesquisa foi desenvolvida com o objetivo de nos aprofundarmos nas questões que decorrentes do advento das mídias digitais, permeiam a fotografia atualmente. Para isso, tomamos como objeto de estudo o campo da fotografia publicitária, uma área que trabalho e expressão com imagens que tem sofrido significativas transformações. Os focos da pesquisa empírica são as a dinâmica de trabalho criação e produção - dos fotógrafos publicitários, as mudanças tecnológicas na fotografia e a percepção e a recepção das questões estéticas inerentes à imagem.This research was conducted to develop a broader comprehension of the transformations occurred within the area of photography after the advent of the digital media. In order to do so, we have chosen as our object of study the field of advertising photography, an area of work and expression through images that has suffered significant transformations. The focuses of the empirical research are the dynamics of work creation and production of advertising photographers, the technological transformations within photography and the perception and reception of aesthetical matters regarding the photographic image.
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DEL, ZOTTO LUCIA. "Una piattaforma web per l'indagine storica. Grafici e fotografi pubblicitari in Pubblicità in Italia tra gli anni Cinquanta e Settanta." Doctoral thesis, Università IUAV di Venezia, 2020. http://hdl.handle.net/11578/286436.
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L’oggetto di indagine considerato nella ricerca è il rapporto tra grafici e fotografi in Italia tra gli anni Cinquanta e Settanta all'interno della produzione di artefatti pubblicitari a stampa. Prendere in esame, osservare e indagare tali relazioni ha significato identificare i protagonisti e ricostruire una vicenda lacunosa e dimenticata dalla storiografia ufficiale. L'indagine, svolta grazie alla combinazione di dati quantitativi, fonti secondarie e materiali d’archivio, intende offrire un resoconto ragionato sul dialogo che fotografia e grafica hanno affrontato in ambito pubblicitario. Si tratta dunque di un viaggio teso a ricostruire una cartografia, dai tracciati multipli, che si propone non solo di portare alla luce le relazioni fra grafici e fotografi ma anche quelle intercorse fra altre figure professionali coinvolte e i loro committenti, delineando il clima culturale e storico in cui si sono consolidate queste collaborazioni e aprendo la strada per possibili ricerche future sulla tematica.
Attraverso la digitalizzazione della pubblicazione Pubblicità in Italia: Suggestioni Pubblicitarie, edita dal 1953 al 1987 dall'Ufficio Moderno, è stata sviluppata la piattaforma www.pubblicitainitalia.com. Creata come supporto alla ricerca storica, diventa un tool open source utilizzabile e implementabile per ulteriori ricerche, permettendo inoltre la verifica e l'incrocio dei dati con quelli provenienti dagli archivi e dalla letteratura di settore. L’ampia quantità di dati digitalizzati ha permesso di rilevare pattern, ricorrenze e relazioni con l'obiettivo di elaborare osservazioni storiche su di essi. Sono state così identificate tre fasi, la prima dal 1953 al 1960, la seconda dal 1961 al 1970 e la terza dal 1971 al 1980, ognuna delle quali riflette su determinati nodi storici che intersecano grafica e fotografia.
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Furrow, Ashley D. "Race and Gender Bias in Editorial and Advertising Photographs and in Sources in Sports Illustrated Kids, 2000-2009." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1288385066.
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MemÃria, Paula Roberta Fernandes. "A Imagem da mulher na moda: uma anÃlise das representaÃÃes dos corpos femeninos nas fotografias publicitÃrias da marca Dolce & Gabbana." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=7489.
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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgicoEsta pesquisa aborda a representaÃÃo da beleza feminina nos corpos exibidos em vinte e quatro fotografias publicitÃrias da marca Dolce & Gabbana, analisadas sob a perspectiva de dois mÃtodos: a anÃlise composicional, sugerida por Rose (2001), e um mÃtodo desenvolvido por Dyer (1982) para a interpretaÃÃo das repr esentaÃÃes dos corpos na publicidade. Em um primeiro momento, se discute o conceito de representaÃÃo e a construÃÃo de um habitus (BOURDIEU, 1992, 2004), pelo corpo feminino nas fotografias. Apesar da elevada variaÃÃo do conceito de beleza, percebemos nas imagens dos corpos os valores atribuÃdos por uma determinada sociedade e que, na publicidade de moda, encontra-se vinculado ao consumo. Portanto, torna-se efÃmero para sustentar o mercado, que envolve, tanto os produtos dos anÃncios (que nem sempre estÃo diretamente vinculados à beleza feminina) como o prÃprio corpo que se tornou um produto e que possui toda uma indÃstria da beleza que o mantÃm. Em um segundo momento, percebemos a imagem da mulher na moda vinculada à seduÃÃo, pois como afirmou Mitchell (2009), as imagens pretendem nos beijar e tal seduÃÃo ocorre na maior parte das vezes com o espetÃculo. Surgem mulheres perfeitas, âas VÃnusâ da contemporaneidade sÃo apresentadas nas imagens publicitÃrias com medidas ideais, sem marcas de expressÃo, idiossincrasias, poros, quase âplastificadasâ (MAGALHÃES, 2006). Os âcorpos dÃceisâ na perspectiva de Foucault (1997), vÃm à tona, pois seguem a mesma linha e forma e precisam anular-se em funÃÃo do produto, tendo os seus gestos, atitudes e expressÃes controladas, reiterando estereÃtipos sociais femininos. Tais padrÃes sÃo difundidos pelas mÃdias nos discursos imagÃticos, que como afirmou Foucault (1997), engendram relaÃÃes de poder sobre modelos e espectadores, os quais alÃm de adquirirem os produtos da moda, terminam almejando os corpos. Conforme Garcia (2006, p. 9) âCompramos os produtos, mas desejamos o corpoâ e nÃo somente o corpo, mas toda a felicidade efÃmera apresentada pela publicidade. No terceiro momento da pesquisa percebemos que as imagens pautam a vida e os corpos dos indivÃduos na contemporaneidade e que, como Kamper (2002a) argumentou, as pessoas passam a viver tanto em funÃÃo das imagens que terminam morrendo por elas. Em um sentido metafÃrico ou literal, percebemos o argumento do filÃsofo nas imagens que apresentam mulheres neutras, sem vida, bonecas de âmarionetesâ da publicidade. O sÃculo XX agregou a mulher magra e longilÃnea, surgiram as modelos e top models, que se distanciam dos antigos valores agregados à beleza feminina (fecundidade) onde a gordura prevalecia nos corpos, hoje visualizamos o corpo magro, quase anorÃxico. Ao analisar as fotografias da marca Dolce & Gabbana percebemos que a mulher representada segue uma linha âquaseâ andrÃgena, com aspecto robotizado que se tornou evidente tanto pela sua atitude na cena como pelo corpo demasiadamente editado por softwares de tratamento. As fotografias possuem estreita relaÃÃo com o social, reiteram os valores atribuÃdos por nossa sociedade à beleza, onde corpos e tecnologias se unem e transformam as formas de ver e lidar com as imagens.
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Becker, Anne Lynn. "The layout of the land : the Canadian Pacific Railway's photographic advertising and the travels of Frank Randall Clarke, 1920-1929." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83171.
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This thesis examines the role of photography in making the Canadian Pacific Railway company (CPR) an integral part of Canadian mythology. It focuses on the company's photographic advertising in the 1920s, and the ways in which its increasingly nationalistic transcontinental brochures framed the country, and equated the act of travelling with nation-building and national identity.The CPR's tourist brochures established a visual vocabulary of the travelling experience, which was readily employed by individuals such as Montreal journalist Frank Randall Clarke. Clarke was sponsored by the CPR to travel across the country in the summer of 1929. His journalistic writing and personal photograph album allow for a rich analysis of the visual culture of the period, and they will be used to illustrate the ways in which the CPR represented Canadian progress, immigration, and tourism.
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Різниченко, Валерія, and Руслана Хиневич. "Пост-обробка іміджевої портретної фотографії." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10464.
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Надано результати дослідження сучасних тенденцій пост-обробки фотографій. Метою стало ознайомлення з основними прийомами ретуші та кольорокорекції, а також визначення доцільності їх використання при обробці іміджевої портретної фотографії. В ході досліження було визначено ряд факторів, які характеризують іміджеву портретну фотографію. На основі аналізу найпоширеніших технік обробки фотографії була розроблена авторська методика ретуші та кольорокорекції. Охарактеризовано основні підходи до редагування портретної фотографії та визначено поняття "іміджева" фотографія.In this article were given the results of research of modern postproduction techniques in photography. The main decision was to present the most common techniques of retouching and color correction and to show author's technique of portrait photo post-production. During this research were defined a number of factors that characterize an advertising photography. By the analyze of the most popular techniques was developed own technique of retouching. Described the main approaches of editing a portrait photography and was given a description of "an advertising photography"
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Jennings, Joshua Kerby. "On Making a Difference: How Photography and Narrative Produce the Short-Term Missions Experience." UKnowledge, 2017. http://uknowledge.uky.edu/cld_etds/32.
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Short-term missions participants encounter difference in purportedly captivating ways. Current research, however, indicates the practice does not lead to long-lasting, positive change. Brian M. Howell (2012) argues the short-term missions experience is confined to the limitations of the short-term missions narrative. People who engage in short-term missions build assumptions, seek experiences, understand difference, and convey meaning, as a result of this narrative. The process of telling and retelling travel stories is integral to the short-term missions experience. Drawing upon literature on tourism, narrative, development, and photography, this study intends to evaluate the inefficacy of short-term missions through the stories which produce and are produced by photography. Through storytelling and photography from 21 short-term missions participants who have served in Ouanaminthe, Haiti, this project deconstructs the short-term missions narrative to understand, what is the relationship between the use of photography and the short-term missions experience? The results indicate a unique relationship between people, photography, and experiences within the framework of short-term missions.
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Memória, Paula Roberta Fernandes. "A imagem da mulher na moda: uma análise das representações dos corpos femeninos nas fotografias publicitárias da marca Dolce & Gabbana." www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/7865.
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MEMÓRIA, Paula Roberta Fernandes. A imagem da mulher na moda: uma análise das representações dos corpos femininos nas fotografias publicitárias da marca Dolce & Gabbana. 2012. 155f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2012.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-04-02T16:17:58Z No. of bitstreams: 1 2012-DIS-PRFMEMORIA.pdf: 3230848 bytes, checksum: 4d93d532f12ab99e054a7c1cc88ade44 (MD5)
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Esta pesquisa aborda a representação da beleza feminina nos corpos exibidos em vinte e quatro fotografias publicitárias da marca Dolce & Gabbana, analisadas sob a perspectiva de dois métodos: a análise composicional, sugerida por Rose (2001), e um método desenvolvido por Dyer (1982) para a interpretação das repr esentações dos corpos na publicidade. Em um primeiro momento, se discute o conceito de representação e a construção de um habitus (BOURDIEU, 1992, 2004), pelo corpo feminino nas fotografias. Apesar da elevada variação do conceito de beleza, percebemos nas imagens dos corpos os valores atribuídos por uma determinada sociedade e que, na publicidade de moda, encontra-se vinculado ao consumo. Portanto, torna-se efêmero para sustentar o mercado, que envolve, tanto os produtos dos anúncios (que nem sempre estão diretamente vinculados à beleza feminina) como o próprio corpo que se tornou um produto e que possui toda uma indústria da beleza que o mantém. Em um segundo momento, percebemos a imagem da mulher na moda vinculada à sedução, pois como afirmou Mitchell (2009), as imagens pretendem nos beijar e tal sedução ocorre na maior parte das vezes com o espetáculo. Surgem mulheres perfeitas, “as Vênus” da contemporaneidade são apresentadas nas imagens publicitárias com medidas ideais, sem marcas de expressão, idiossincrasias, poros, quase “plastificadas” (MAGALHÃES, 2006). Os “corpos dóceis” na perspectiva de Foucault (1997), vêm à tona, pois seguem a mesma linha e forma e precisam anular-se em função do produto, tendo os seus gestos, atitudes e expressões controladas, reiterando estereótipos sociais femininos. Tais padrões são difundidos pelas mídias nos discursos imagéticos, que como afirmou Foucault (1997), engendram relações de poder sobre modelos e espectadores, os quais além de adquirirem os produtos da moda, terminam almejando os corpos. Conforme Garcia (2006, p. 9) “Compramos os produtos, mas desejamos o corpo” e não somente o corpo, mas toda a felicidade efêmera apresentada pela publicidade. No terceiro momento da pesquisa percebemos que as imagens pautam a vida e os corpos dos indivíduos na contemporaneidade e que, como Kamper (2002a) argumentou, as pessoas passam a viver tanto em função das imagens que terminam morrendo por elas. Em um sentido metafórico ou literal, percebemos o argumento do filósofo nas imagens que apresentam mulheres neutras, sem vida, bonecas de “marionetes” da publicidade. O século XX agregou a mulher magra e longilínea, surgiram as modelos e top models, que se distanciam dos antigos valores agregados à beleza feminina (fecundidade) onde a gordura prevalecia nos corpos, hoje visualizamos o corpo magro, quase anoréxico. Ao analisar as fotografias da marca Dolce & Gabbana percebemos que a mulher representada segue uma linha ‘quase’ andrógena, com aspecto robotizado que se tornou evidente tanto pela sua atitude na cena como pelo corpo demasiadamente editado por softwares de tratamento. As fotografias possuem estreita relação com o social, reiteram os valores atribuídos por nossa sociedade à beleza, onde corpos e tecnologias se unem e transformam as formas de ver e lidar com as imagens.
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Ambrosio, Jeanie. "Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites)." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7466.
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As the artwork’s title suggests, Penelope Umbrico’s "Mirrors (from Home Décor Catalogs and Websites)" (2001-2011), are photographs of mirrors that Umbrico has appropriated from print and web based home décor advertisements like those from Pottery Barn or West Elm. The mirrors in these advertisements reflect the photo shoot constructed for the ad, often showing plants or light filled windows empty of people. To print the "Mirrors," Umbrico first applies a layer of white-out to everything in the advertisement except for the mirror and then scans the home décor catalog. In the case of the web-based portion of the series, she removes the advertising space digitally through photo editing software. Once the mirror has been singled out and made digital, Umbrico then adjusts the perspective of the mirror so that it faces the viewer. Finally, she scales the photograph of the mirror cut from the advertisement to the size and shape of the actual mirror for sale. By enlarging the photograph, she must increase the file size and subsequent print significantly, which distorts the final printed image thereby causing pixelation, otherwise known as “compression artifacts.” Lastly, she mounts these pixelated prints to non-glare Plexiglas both to remove any incidental reflective surface effects and to create a physical object. What hangs on the wall, then, looks like a mirror in its shape, size and beveled frame: the photograph becomes a one-to-one representation of the object it portrays. When looking at a real mirror, often the viewer is aware of either a reflection of the self or a shifting reflection caused by his or her own movement. However, the image that the "Mirror" ‘reflects’ is not the changing reflection of a real mirror. Nor is it a clear, fixed image of the surface of a mirror. Instead the "Mirrors" present a highly abstract, pixelated surface to meet our eyes. The "Mirrors" are physical objects that merge two forms of representation into one: the mirror and the photograph, thus highlighting similarities between them as surfaces that can potentially represent or reflect almost anything. However, in their physical form, they show us only their pixelation, their digitally constructed nature.
Penelope Umbrico’s "Mirrors" are photographs of mirrors that become simultaneously photograph and mirror: the image reflected on the mirror’s surface becomes a photograph, thus showing an analogy between the two objects. In their self-reflexive nature, I argue that Umbrico’s "Mirrors" point to their status as digital photographs, therefore signaling a technological shift from analog to digital photography. Umbrico’s "Mirrors," in altering both mirrors and photographs simultaneously refer to the long history of photography in relation to mirrors. The history of photography is seen first through these objects by the reflective surface of the daguerreotype which mirrored the viewer when observing the daguerreotype, and because of the extremely high level of detail in the photographic image, which mirrored the photographic subject. The relation to the history of photography is also seen in the phenomenon of the mirror within a photograph and the idea that the mirror’s reflection shows the realistic way that photographs represent reality. Craig Owens calls this "en abyme," or the miniature reproduction of a text that represents the text as a whole. In the case of the mirror, this is because the mirror within the photograph shows how both mediums display highly naturalistic depictions of reality. I contend that as an object that is representative of the photographic medium itself, the shift from analog to digital photography is in part seen through the use of the mirror that ultimately creates an absent referent as understood through a comparison of Diego Velázquez’s "Las Meninas" (1656). As Foucault suggests that "Las Meninas" signals a shift in representation from the Classical age to the Modern period, I suggest that the "Mirrors" signal the shift in representation from analog to digital.
This latter shift spurred debate among photo history scholars related to the ontology of the photographic medium as scholars were anxious that the ease of editing digital images compromised the photograph’s seeming relationship to truth or reality and that it would be impossible to know whether an image had been altered. They were also concerned with the idea that computers could generate images from nothing but code, removing the direct relationship of the photograph to its subject and thereby declaring the “death” of the medium. The "Mirrors" embody the technological phenomenon with visual addition of “compression artifacts,” otherwise known as pixelation, where this representation of digital space appears not directly from our own creation but as a by-product of digital JPEG programming. In this way they are no longer connected to the subject but only to the digital space they represent. As self-reflexive objects, the "Mirrors" show that there has been a technological transformation from the physically made analog photograph to the inherently mutable digital file.
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Chance, Helena M. F. "'The Factory in a Garden' : corporate recreational landscapes in England and the United States, 1880-1939." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:98e6efda-ea51-4bbd-834d-a606fcd5eec7.
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From the 1880s, a new type of designed green space appeared in the industrial landscape in England and the USA - the factory pleasure garden or park. At the same time, industrialists began to enhance their office and factory buildings with landscaping and planting, and some opened allotment gardens for the children of factory workers. The making of gardens and parks around or near office and factory buildings, designed by professionals, was driven by belief in the value of gardens and parks to recruitment and retention of staff, to industrial welfare, and to advertising, corporate identity and public relations. The thesis will show how industrialists appropriated the historical, cultural and metaphorical meanings of gardens in a bid to redefine industry as progressive and responsible and to shift the image of factory labour from unhealthy and exploitative to healthy, caring, respectable and sociable. The thesis will argue that companies employed landscape professionals to contribute to a positive image of industry and industrial development in the suburban or rural landscape, and to harmonise industry and nature. It will show how the factory gardens and parks supported numerous and varied opportunities for outdoor recreation that in some districts would not have been so readily accessible to working people, particularly to women and young people. The thesis will show how companies exploited the social and cultural capital of gardens and recreation space through photography, illustration and film for promotional purposes. It will suggest that although the sporting and other outdoor recreational opportunities at factories were likely to be beneficial to many, the greater value to companies of factory pleasure gardens was in advertising and public relations. The thesis will build on existing research that highlights the valuable contribution of industry to sports and recreation provision in this period. It will also suggest that industry had more influence on gardens and gardening than is currently understood.
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Janů, Ondřej. "Využití fotografie s vysokým rozlišením v realitní praxi." Master's thesis, Vysoké učení technické v Brně. Ústav soudního inženýrství, 2013. http://www.nusl.cz/ntk/nusl-232708.
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The aim of the work was to put together the list of possible ways to use high resolution image in real estate practice. Photographies are created by stitching more than one image on itself. Further on was developed methodology of working with these images and was made an illustration with detailed description of the procedure for each individual case. For each procedure were proposed possibilities in practical using. For the thesis purposes was conducted real estate and public survey. Based on results of the survey were purposed draft measures to improve internet real estate advertising.
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Atkinson, Elizabeth Susan. "The formative years : the evolution of photography's role in British periodical advertising during the 1920's and 1930's." Thesis, Royal College of Art, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295775.
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Huguenin, Régis. "Des images de l'entreprise à l'image d'entreprise. L'univers visuel de Suchard (1945-1990)." Thesis, Belfort-Montbéliard, 2012. http://www.theses.fr/2012BELF0009.
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L’existence et la mise à disposition d’un important matériau documentaire composé d’archives visuelles(affiches, photographies, films) ont révélé les potentialités d’une recherche approfondie et systématique sur lesmodalités de création d’images par l’entreprise de chocolats Suchard de 1945 à 1990, date qui correspond à lafermeture des ateliers de fabrication de Neuchâtel. Cette recherche est l’occasion de développer dessoubassements méthodologiques à même de participer au renouvellement de l’histoire d’entreprise par lerecours à des sources permettant d’en saisir l’univers visuel. La création des images se réalise au travers d’unecollaboration entre des acteurs internes et externes à l’entreprise. La seconde moitié du XXe siècle correspondà une professionnalisation de la fabrique d’images au cours de laquelle les différents supports s’accumulent,mais aussi s’articulent, se complètent ou parfois se concurrencent, au sein de la pratique de l’entreprise. Lesphotographies se font le reflet d’événements, positifs ou négatifs, qui agissent directement sur la fabrication.Elles apparaissent comme un outil de relations publiques, notamment au travers de la médiatisation des visitesd’usine. Les films institutionnels se veulent le reflet d’une évolution plus structurelle de l’entreprise, sensiblesà sa raison sociale, à sa diversification, à son implantation. Au niveau des collaborateurs, l’image permetd’accroître la reconnaissance envers des corps de métiers qui ne sont en contact avec les autres queponctuellement. Quant aux machines, elles peuvent constituer autant un facteur favorable que défavorable àl’image de l’entreprise. Les facteurs incitant l’entreprise à représenter la machine permettent de définir lescontours du concept de modernité. Jusqu’au milieu des années 1970, l’image productive, incarnée par uneorganisation systématique des ateliers et des machines, prend un sens positif. Dans la seconde moitié desannées 1970, en période de récession économique, la machine permet une réduction des coûts de fabricationpar une diminution de la masse salariale. Sur le plan de l’image du produit, l’étude montre qu’il faut sedébarrasser de l’association unique du chocolat suisse avec la montagne. Cette construction est largement lereflet d’un regard de l’étranger et ne constitue pas une constante en Suisse. Depuis le début des années 1950 etpendant plus d’une vingtaine d’années, le chocolat Milka n’est pas associé à l’image du lait et de la montagne,mais bien à un environnement urbain. Ce refus de « suissitude » pendant les Trente Glorieuses s’évanouit dansles années 1970 en partie sous l’impulsion de l’étranger. Suchard renoue alors avec les symboles alpestresfondamentauxThe existence and availability of an important documentary material composed of visual archives (posters,photographs, films) have revealed the potentialities of a thorough and systematic research on how thechocolates company Suchard, based in Neuchâtel (Switzerland), created images from 1945 to 1990, date of theclosure of the manufacturing facilities. This research is the cause of developing methodological foundationsable to participate in the renewal of business history by the use of visual sources. The creation of images wasmade by actors both within and outside the company. The second half of the twentieth century correspond to aprofessionalization of the “picture factory” in which different media pile up, articulate, complete or compete.Photographs reflect positive or negative events directly linked with the production state. They appear as apublic relations tool, particularly through the factory visits. Films are intended to reflect an institutionalevolution of the company, sensitive to its name, its diversification, its implementation. Regarding to theproduction image, staff pictures enhance the recognition for the employees that are only occasionally incontact with others. The machines are as much a favourable as an unfavourable factor for the enterprise’simage. Factors inciting the company to represent the machine make it possible to define the concept ofindustrial modernity. Until the mid-1970s, productive image, embodied by a systematic organization ofworkshops and machines, takes a positive sense. In the second half of the 1970s, in times of economicrecession, the machine reduces manufacturing costs by reducing payrolls. In terms of the product image, thestudy shows it takes to get rid of the unique association of Swiss chocolate with the mountains. Thisconstruction is largely a reflection of a view from abroad and is not a constant in Switzerland. Since the early1950s and for over twenty years, Milka chocolate was not associated with the image of milk and mountains,but with an urban environment. This refusal of “Swissness” during the post-war boom faded in the 1970s,partly under the impetus from abroad. Suchard then revived with the basic alpine symbols
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Martins, Josemar. "A CONSTRUÇÃO DA IDENTIDADE EM CAMPANHAS/PEÇAS FOTOGRÁFICAS DE MODA DE MARCAS NACIONAIS." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/6341.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis dissertation proposes to examine, since the perspective of a discursive semiotics, advertising communication targeted to fashion, examining in particular photographic fashion advertising texts in their broader context, that is, inside the vehicle, and related to the fashion campaign to which they belong to , in order to check out how they build the identity and image of the brand and / or products advertised, and what are the strategies which are used to summon your target audience to the consumer and interaction with the brand. The proposed analysis will be conducted through eight advertisements belonging to four jeanswear brands that are part of photographic advertising campaigns (spring-summer and autumn-winter), published between the years 2011 and 2012, by magazine Vogue Brazil, which, de per si, updates the need to examine carefully, beyond the advertising, the characteristics of the photographic text , the social-communicative functions, and magazine media.
A presente dissertação propõe-se a analisar, na perspectiva de uma semiótica discursiva, a comunicação publicitária direcionada à moda, examinando em especial textos publicitários fotográficos de moda em seu contexto mais amplo, isto é, no interior do veiculo, e relacionados com a campanha de moda da qual fazem parte, com vistas a verificar como eles constroem a identidade e imagem da marca e/ou dos produtos anunciados, bem como quais são as estratégias de que se utilizam para convocar seu público alvo ao consumo e interação com a marca. A análise proposta será realizada em oito peças publicitárias pertencentes a quatro marcas de jeanswear que fazem parte de campanhas publicitárias fotográficas (primavera-verão, outono-inverno), publicadas entre os anos de 2011 e 2012, pela revista Vogue Brasil, o que, de per si, atualiza a necessidade de examinar, com atenção, para além do publicitário, as características do texto fotográfico, as funções sócio-comunicativas da moda, e a mídia revista.
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Скляренко, Валерій. "Соціальна реклама захисту тварин. Основні тенденції." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10466.
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Надано результати аналізу сучасних зразків дизайну соціальної реклами, присвяченої захисту диких та домашніх тварин, птахів, мешканців морів та океанів відомих рекламних брендів. Метою роботи стало визначення принципів створення соціальної реклами з різними креативними підходами. В ході аналізу визначені чинники, які використовувалися для розкриття конкретної проблеми. На основі дослідження розроблена класифікація тематичних напрямків в дизайні цього типу соціальної реклами.The results of analysis of modern standards of design of the social advertising, devoted defence of wild and home zoons, poultries etc. in the world of the known brands are given. A purpose was become by determination of principles of creation of the social advertising from differences by creative approaches thee steps of analysis certainly list of factors, what used for opening of concrete problem. On the basis of the detailed research of the given standards of the social advertising on a theme to defence of zoons the developed classification thematic directions of this design.
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Ozdoba, Marie-Madeleine. "« Tomorrow’s Life Today ». Le mythe de l’architecture ultra-moderne dans la presse américaine (1947-1964)." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0064.
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Au lendemain de la Seconde Guerre mondiale, dans les plus grands titres de la presse américaine, les nouveaux immeubles équipés de murs rideaux et de l’air climatisé sont présentés comme un « futur déjà arrivé dans le présent ». Le récit médiatique des projets de Mies Van der Rohe, S.O.M. ou Welton Becket est instrumentalisé à des fins de publicité et de divertissement, comme espace de projection dans le futur pour un public en mal d’horizons concrets. Cette thèse interroge la place de l’architecture dans une profonde reconfiguration du régime d’historicité, dans le sillage de l’imaginaire technoscientifique débridé qui caractérise la période – à l’instar de l’Atomic Age, du Space Age ou du Jet Age. Suivant une définition anthropologique de la culture comme production sociale de sens, la thèse met en évidence le rôle des professionnels de l’image (photographes et illustrateurs), de la communication et de l’édition dans le succès de l’architecture ultra-moderne comme proposition culturelle. Le principal cadre méthodologique du projet est la description du contexte de production et de réception du récit de l’architecture ultra-moderne dans la presse grand public. L’analyse conjugue une prise en compte des situations, des processus et des jeux d’acteurs propres au projet d’architecture et à sa médiatisation, avec un appareil interprétatif issu de l’histoire et de la théorie des arts et des images. A l’aune de son récit médiatique, l’architecture ultra-moderne apparaît comme un support de croyances et d’aspirations qui tenaient du mythe, autant que du projet technologique et rationnel revendiqué par les architectes. En tissant l’histoire de l’architecture, l’histoire du récit médiatique, et l’histoire du rapport au temps, cette thèse entend forger un cadre pour l’historiographie des mythes. La mise en œuvre des images d’architecture dans le récit du futur, qui s’appuie sur un imaginaire de la concrétisation, offre un prisme inédit pour revisiter la question de la performance des images, au cœur du champ des études visuellesIn the aftermath of the Second World War, in the headlines of the American press, new buildings equipped with curtain walls and air conditioning were presented as a "future already arrived in the present". The media account of the projects of Mies Van der Rohe, S.O.M. or Welton Becket was used for publicity purposes, as a space for future projections for an audience lacking concrete horizons. This thesis questions the place of architecture in a profound reconfiguration of the regime of historicity, in the wake of the unbridled technoscientific imagination that characterized the period – in the same way as the Atomic Age, the Space Age or the Jet Age. Following an anthropological definition of culture as a social production of meaning, the thesis highlights the role of photographers and illustrators, public relations and publishing profesionnals in the success of ultra-modern architecture as a cultural object. The main methodological framework of the project is the description of the context of production and reception of the narrative of ultra-modern architecture in the mainstream press. The analysis combines a consideration of the situations, processes and agents specific to the architectural project and its publicity, with an interpretative apparatus based on the history and theory of arts and images. In the light of its media narrative, ultra-modern architecture appears to be a support for beliefs and aspirations akin to a myth, as much as the technological and rational project claimed by the architects. By weaving together the history of architecture, the history of media narrative, and the history of the relationship to time, this thesis aims to forge a framework for a historiography of myths. The implementation of architectural images in the narrative of the future, which is based on an imaginary of concretization, offers a new prism to revisit the question of the performativity of images, at the heart of the field of visual studies
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Souza, Jóice Cleide Cardoso Ennes de. "Banco de imagens: abordagem teórica conceitual de representação de fotografias para uso na publicidade." Instituto Brasileiro de Informação em Ciência e Tecnologia/Universidade Federal do Rio de Janeiro, 2013. http://ridi.ibict.br/handle/123456789/895.
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O trabalho aborda a indexação de imagens fotográficas em bancos de imagens para publicidade, justificada pela proliferação de fotografias na atual sociedade da informação e sua divulgação rápida e online. Os bancos de imagem se apresentam como recurso para os publicitários que demandam de tempo para a criação de anúncios, pois oferecem coleções fotográficas selecionadas, com tratamento documental direcionado ao usuário. Objetiva investigar procedimentos para a representação e recuperação de fotografias arquivadas em bancos de imagens, visando obter subsídios para reflexão e desenvolvimento de esquema teórico para indexação de fotografias em arquivos digitais. A análise qualitativa foi realizada a partir da identificação de elementos na literatura sobre publicidade direcionada ao público feminino, para definição de atributos visando atender demandas de conteúdo publicitário. Selecionou-se o banco de imagens Latinstock para o desenvolvimento da análise empírica por oferecer coleções para uso publicitário, ser em português e explicitar os princípios adotados na análise conceitual das fotografias. As amostras investigadas indicam que os atributos usados pelo banco de imagem são compatíveis com a representação de aspectos subjetivos/abstratos da fotografia, e que o uso de substantivos e adjetivos na indexação atendem aos elementos identificados na literatura de publicidade. Concluiu-se que a indexação de imagens para publicidade compreende atributos técnicos, figurativos e subjetivos.
The research approaches the indexing of images in images databank for advertising, justified by the proliferation of photographs in the information society and its rapid online dissemination. Image databank are presented as a resource for advertisers that demand time for creating ads because they offer selected photographic collections with the documentary directed the user. Work aims to investigate procedures for the representation and retrieval of archived photographs in image databanks, in order to obtain subsidies for reflection and development of theoretical scheme for indexing photos into digital files. Qualitative analysis was performed based on the identification of elements in the advertising literature targeted to a female audience, to define attributes to meet the demands of advertising content. Stock photos Latinstock was selected to the empirical analysis by offering collections for advertising use, in Portuguese and explains the principles adopted in the conceptual analysis of the photographs. The samples investigated indicate that the attributes used by the image databank are compatible with the photo representation of subjective and abstracts aspects, and the use of nouns and adjectives in indexing meet the elements identified in the advertising literature. It was concluded that indexing of images for advertising comprises technical, figurative and subjective attributes.
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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.
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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Yeh, Su-Wan, and 葉素婉. "A Study on Advertising Performance Assessment in Cross-Straits Bridal Photography Industries." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/09185653335095746294.
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碩士大葉大學
國際企業管理學系碩士在職專班
97
Businesses can affect the consumer behaviors and transmit the product informa-tion via the advertisement. The research focuses on how the research variables affect the advertising effects. The research variables include advertising types, types, wedding photographs types and vital statistics variables. The advertising effects consist of adver-tising attitudes, product attitudes, advertising recalling and purchasing intentions. The advertising types involve billboards, magazines, radio, mails, Internet and flags. The wedding photographs types contain wedding photographs, wedding photographs plus baby photographs and wedding photographs plus family photographs. The vital statis-tics variables consist of education backgrounds, incomes and consumers’ tendencies. Based on the experiment result, the marketing strategy is proposed. On the vari-ous education backgrounds, businesses can put advertising exposure on the consumers with the high educations. On the different wedding photographs types, businesses can make different advertising based on the various wedding photographs. On the different consumers’ tendencies, businesses can put more advertisements on the consumers with various tendencies to increase the purchasing intentions.
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Chuang, Ya-ting, and 莊雅婷. "A study on event- related potential and attention evoked by advertising photography image design." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/99954810080398030102.
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碩士國立臺灣科技大學
設計研究所
101
Advertising photography is more and more mature in recent years. It is not only the rules of the merchandise photo, but also advertising image performance of creative and artistic conception according to advertising appeals. Effectively convey the advertising content often depends on the image presentation. So effective promote and sales must be caused by the viewer's attention. Therefore, advertising photography image is designed how to attract the viewer's attention to an important issue. This study focuses on advertising photography graphic design, to explore the "advertising composition" and "photographic performance" feature of attention. The purposes of this study are: (1) to find out the design features of advertising photography image with the literature and collected samples of print ads; (2) to investigate the influence of “advertising composition” and “photographic performance” in advertising photography on viewers’ “ERP amplitude” by ERP experiment; (3) to investigate into the relations between event-related potential (ERP) and attention. According to the contents in literature review and the collection of advertising samples, we proposed two independent variables: “advertising composition” was quantified as “united shape, composite shape, high directionality, and low directionality”, while “photographic performance” as “still-life photography and landscape photography”. Through event-related potentials (ERP) experiment, exploring advertising composition and photographic performance of the two design features could cause varying degrees of attention. The ERP experimental results, composite shape of ad composition evoked greater ERP amplitude at N100 and P300 component, still-life photography of photographic performance evoked greater ERP amplitude at N100, P200, and P300 component. Within the interaction of advertising composition and photographic performance, ad composition of composite shape in still photography evoked greater ERP amplitude at N100 and N200 component; ad composition of united shaped evoked greater ERP amplitude at N100 and N200 component in Landscape Photography. Therefore, ad composition and photography performance of two design features with ad photography image influenced on attention. Finally, the results of this study could be a reference for designers create advertising photography image in the hope.
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Liu, Yu-Hsuan, and 劉伃軒. "The study of Assessing Benefits of Fashion Clothes Utilizing Image Advertising and Photography Representation." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/2b3wh8.
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碩士國立臺灣藝術大學
圖文傳播藝術學系
107
Well-known fashion brands provide consumers innovative awareness and high recognition of brand model advertising by using different broadcasting techniques and designs. According to the BOF 2017 fashion brand rankings and the online thermometer 2017 top ten popular parity apparel behavior research samples, including positioning, theme, style, and photography performance. It discovered that the advertisements of luxury brands utilizing a great number of diverse story topics and various body changes, the composition of the photo are strong; nevertheless, the budget brand usually creates a picture by theme, rarely get in touch with the story, and the posture of the models are also comparatively simple. It summarized the two types of brand vision advertisements to establish performance principles of the theme concepts and expression techniques by carrying out the differences between theme concepts and photography performances. According to the different production technique, the experiment compared by 4 set of props/scenes, 4 set of single model posture, 4 set of lights, 1 set of expressions, and 5 sorts of design compositions. We conducted a questionnaire on the semantic assessment and advertising effectiveness of three styles by seven-point scales. The survey is in connection with the consumers aged between 20 to 49, 202 valid questionnaires collected. The average value of each question was used to examine the degree of image comprehension in two types of expression techniques. The research shows that the variation of the model's postures conducts to a comparatively vaster difference in semantic feelings, furthermore, it reveals the arrangement of scenes and props, the action of the model, the composition of the bizarre posture, the setting of the concentrated light and the direct light effect present the comparatively better advertising memory points for customers.
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Moullin, Victor Mathieu Guy. "The impact of commercial and artistic photography on the portrayal of reality." Master's thesis, 2017. http://hdl.handle.net/10400.14/31597.
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This report discusses the impact of commercial and artistic photography on the portrayal of
reality. It is based on my six-month experience as an intern at Atelier Mai 98 in Paris, a
studio devoted to the production of pictures for the luxury market. In my reflection I intend
to demonstrate the close bonds between photography and the advertising industry as far as
its conception, distribution and aestheticization are concerned. My aim is to discuss how
commercial photography creates codes that modify the perception of reality for commercial
reasons whereas artistic photography designs an alternative world by revealing the invisible.
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Liu, Yu-Yan, and 劉宇妍. "A Research and Application of Simulation Characteristics in Digital Photography- Take the Creation in the Category of Public Welfare and Personal Graphic Design in Times Advertising Award as Example." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/ceref7.
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碩士崑山科技大學
視覺傳達設計研究所
96
The invention of photography changes the way to see the world for human beings. With the improvement of technology, photography has developed from traditional analog mode to digital and multiple forms, and achieved contemporary visual trend of simulation. The main purpose of this research is to explore the characteristics and application of simulation in digital photography. Through the analysis of related reference and cases, there are three research points listed below: At first, the simulation characteristic of digital photography is capable of extending image information.The simulation characteristic could be categorized as four types according to related reference and cases: “Parable,”“Metonymy,”“Perjury,”“Embodiment.” Moreover,there are six forms categorized for the application of simulation characteristic on visual creation.“The use, modification, and blend of different object quality and energy,”“The subversive change of physical property,”“The dislocation and overlap of space-time,”“The anti-regular image and visual rationalization,”“The rearrangement and combination of anatomic concept,”“The self-modeling and exhibition of virtual reality”. Secondly,applying the conclusion of digital simulation skill in chapter three as the foundation, and taking awarded works of Times Advertising Award during 1997 to 2005 in Taiwan as the object, the research finds that visual creation of graphic design evolves from realistic display to experiential embodiment.The application of digital simulation strengthens the communication of advertise information,and promotes the trend of visual consume. Thirdly, in the end of the research there will take three awards as the creative subjects, which is“2007 Taiwan 3R Poster Young Designer Awards,”“2008 4A Free Creation Awards,”“2008 Times Advertising Awards.” Observe the awards above to conclude the application of simulation, and aim at some points to make test and modification. The creation takes simulation skill arranged in chapter three as reference to re-operate and re-create.
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Kubíčková, Lucie. "Žánrové očekávání od reklamní fotografie v časopisech od roku 1970 do současnosti." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-388733.
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1 Abstract This master's thesis deals with a genre expectation from an advertising photography in magazines from 1970 up to the present. The intent of a theoretical part of the master's thesis is to characterize the advertising photography and compare it with other photographic genres such as journalistic, documentary or artistic photography, because each of those genres is characterized by different modes and so, each carries considerably diverse expectations. And thus, an attention is paid especially to a photography composition within the scope of those individual genres. However, in connection with the comparison of the advertising and journalistic photography, I also focus on regulations, which limit these genres. Further, the aim of this thesis is to map the limits of the genre of the advertising photography and depict, with the use of the particular examples, what stereotypes, prejudices and standards are used in the creation of the advertising photographs and how it ends up, when they are broken. Nevertheless, in the theoretical part I also deal with it, what does it mean a term illustrative photography and where this term is used. The practical part of the master's thesis makes it the goal to clarify, thanks to a research method of a qualitative analysis, what female readers of the lifestyle...
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Wu, Yixian, and 吳奕嫻. "Gaze in the puff - the photographic creation of female image in advertising." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/z59pnd.
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碩士國立政治大學
傳播學院傳播碩士學位學程
106
Nowadays, media has played an important role in daily life, influencing and changing public thinking and behaviors, especially various kinds of advertisements in TV and Internet. In the early days of advertising as a means of marketing, female images were used frequently. The popularity of using sexual female images in advertising definitely has benefited the sales for brands, however, it has caused the phenomenon of women objectification and female stereotype as well. With the revolt of feminism and the promotion of public awareness, brands have become aware of the importance of proper depiction of female image in advertising. Recently, Cannes Lions set up Glass Lion in order to inspire the changes of culture, yet some brands are still using sexual female image. Therefore, the purpose of this project is to arouse public’s attention and reflection of such situation through the way of fabricated photography. The project will be presented in three themes “female images under male gaze”, “new female family roles” and “gaze in leisure time”. Finally, the themed photographic exhibition had lasted for two days, attracting nearly 50 visitors. Through the preparation, it makes the creator be aware of the importance of media in shaping feminine self-image. Also, the female image presented in advertising is determined by various factors such as the target audience, type of product and marketing purpose.
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Meruje, Teresa Maria Martins Gomes. "Poses, figurações, poéticas e metáforas do corpo : o caso singular da mulher reclinada." Doctoral thesis, 2016. http://hdl.handle.net/10362/18956.
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A Investigação que levamos a cabo problematiza as poses, figurações, poéticas e metáforas do corpo, elegendo como caso singular o corpo feminino reclinado, viagem desta pose na sua transversalidade e convívio intemporal sob o signo do anacronismo, na busca de relações inesperadas e uma temporalidade outra, que não a linear. A pose reclinada sobreviveu, está ainda bem activa. Permanece, mas nunca é a mesma. Não teve um tempo da imagem, ela própria fez a imagem, a mesma e sempre já outra. Jornadeando na imagem e na palavra, na imagem-corpo e no corpo-pose – importantes na relação eu/outro e inscrição do ser no mundo –, percorremos este caminho tendo como objectivo estudar e analisar esta pose – atitude corporal – no que a sua permanência comporta de reminiscência e soberania. Consideramos a linguagem, a semântica, o signo e o pathos, atendendo à emoção e a neurociência, bem como a dinâmica fornecida pela linha oblíqua, a nossa prática de ritos e mitos na observação da imagem migrante, e como a pose, arquétipo nas artes, se tornou um estereótipo nos media. Propomo-nos, assim, inquirir, dissecar, equacionar a pose reclinada enquanto enigma e apurar o seu poder de continuidade e sobrevivência que, na tensão entre Passado e Porvir, ganha força e dinamismo buscando o seu próprio sentido. É nosso desígnio resgatar as imagens, libertá-las do pó histórico, desvendar o fio que sustenta a sua migração, a permanência da memória, onde o corpo ganha corpo, e asas.The research we conducted discusses the poses, figurations, poetic and body metaphors, electing as a singular case the reclined female body, analysing the different occurrences of this pose in its pervasive and timeless existence under the sign of the anachronism, in search of unexpected relationships and another, non-linear, temporality. The reclining pose survived and is still very much alive. It remains, but it is never the same. It did not have the time of image, it made itself the image, the same and always one another. Journeying on the image and the word, the image-body and body-pose – important in the relation between the self and the other[s] –, we travelled this path, aiming to study and analyze this pose – body attitude – in reminiscence and sovereignty. We consider the language, semantics, sign and pathos, the emotion and neuroscience, as well as the dynamics provided by the diagonal/oblique line, our practice of rites and myths in the observation of migrant image, and how the pose, archetype in the arts, became a stereotype in the media. We propose, therefore, to inquire, dissect and equate the reclined pose as an enigma and to determine its power of continuity and survival, in the tension between the Past and Hereafter, gaining strength and dynamism while searching for its own direction. It is our objective to rescue the images, free them from the historical dust, unravel the thread that holds their migration, the permanence of memory, where the body takes shape, and wings.