Academic literature on the topic 'Movie poster'
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Journal articles on the topic "Movie poster"
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Yin, Li, and Hanita Hassan. "Multimodal Discourse Analysis of the Movie Poster Little Big Soldier." International Journal of Languages, Literature and Linguistics 7, no. 3 (September 2021): 101–5. http://dx.doi.org/10.18178/ijlll.2021.7.3.294.
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Movie Posters are visual media used to transmit cultural and commercial information through social semiotics such as image, text, font and color. One of the important techniques of poster design is to convey movie topics or focused information. Movie poster design has gone through two major periods in China. Between 1980s and 1990s, posters were apparently designed simple and color-vivid; entering the 21st century, with computer technology, Chinese movie posters have shown diversified expressions and propagandas, which seem more fresh and unique in artistic charm. Multimodality usually expresses meanings through the combination of text and other elements, and movie poster is one of the multimodal means. This paper discusses the findings of multimodal discourse analysis by Kress &Van Leeuwen carried out on a movie poster Little Big Soldier, of which the aims are, among others, to reveal how verbal and visual signs work together as social signs to interpret the representational, interactional and compositional meanings, thus viewers better understand how the movie poster realizes meaning co-construction and how it conveys the movie information. The main goal of poster message is to play a propaganda role and attract more audience to the movie.
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Uchida, Kazunori, Daisuke Kohara, Maho Yamada, and Kakuro Amasaka. "Making Compelling Movie Posters Using Statistical Science And An Eye Mark Recorder." Journal of Business Case Studies (JBCS) 7, no. 6 (October 27, 2011): 63. http://dx.doi.org/10.19030/jbcs.v7i6.6480.
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This study focuses on advertising posters for movies, investigating methods of designing compelling posters to encourage viewing. The results of questionnaire surveys were analyzed using statistical science to produce new movie poster designs. The effects of the new posters were then validated using an eye mark recorder. As a result, the authors have succeeded in creating a decision-making method to assist in designing compelling movie posters.
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Shumilova, Angela. "Ukrainian film poster of 1947—1994 from the collections of the VNLU as a special kind of creativity and mass communication." Вісник Книжкової палати, no. 1 (October 22, 2019): 48–52. http://dx.doi.org/10.36273/2076-9555.2020.1(282).48-52.
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The article is devoted to the research of the Ukrainian movie poster of 1947—1994 from the funds of the Vernadsky National Library of Ukraine (VNLU). The VNLU Ukrainian Circulation Poster Foundation has more than 3500 copies that reflect the history of cinema development in general. Developing creative potential, the movie poster became a noticeable independent phenomenon and occupied a leading position in the field of propaganda. The nature of a movie poster makes it possible to see it as a social and communicative tool and as a subject of fine arts belonging to different genres. The genre quite accurately reflects the actuality of art, the response of artists' creative efforts to historical conditions and the request of time. Being a carrier of visual information in mass media, a poster in graphic design appears as a complete artistic and communicative phenomenon. This tool of information is a powerful tool for influencing human consciousness. By means of looking at the posters that are used to promote the movie, we get information about the movie. The movie poster reveals the content of the movie, reflects the individual features of the creator of the poster. Each sheet is a powerful source for exploring the personalities (actors, sound producers, directors, directors, screenwriters, film artists, etc.), film studios that made the films. The article analyzes the movie posters of 1947—1994 that are stored in the funds of the VNLU. The results of observations on the forms of composing plots and the historical development of the poster are covered.
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Perdana, Kevin Abubakar, and Wegig Murwonugroho. "GAYA ILUSTRASI INDIES (STUDI PERBANDINGAN POSTER FILM TIGA DARA VERSI ORISINAL DAN RESTORASI)." Jurnal Dimensi DKV Seni Rupa dan Desain 2, no. 2 (October 24, 2017): 185–200. http://dx.doi.org/10.25105/jdd.v2i2.2189.
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AbstractIndies Illustration Style (Comparative Study of Tiga Dara Movie Poster Original and Restoration Version). Movie posters are a promotional medium for an advertisement of a movie that will air in theaters. Tiga Dara movie promotes the film using a poster media by appointing characters about three siblings. Tiga Dara movie was first published in 1956, then have restored and republished in 2016. After being observed, Tiga Daramovie poster still use indies style in the poster. Theoretically, indies style is a style generated by artists and typographers who flourished and became a cultural identity in the Dutch colonial period. Besides the story script, the methodology used in this study uses descriptive analytical method, which comparing the images between original version and restoration version of posters. The style of illustration are capable forcommunicate the narative aspect of the movie and represent the situation in Tiga Dara movie correctly.AbstrakGaya Ilustrasi Indies (Studi Perbandingan Poster Film Tiga Dara Versi Orisinal dan Restorasi). Poster film merupakan media promosi untuk sebuah film yang akan tayang di bioskop. Film Tiga Dara mempromosikan filmnya menggunakan media poster dengan mengangkat tokoh tentang tiga perempuan cantik yang bersaudara kandung. Film Tiga Dara pertama kali dibuat pada tahun 1956 kemudian direstorasi dan ditayangkan kembali pada tahun 2016. Setelah diamati, poster film Tiga Dara masih menggunakan gaya indies dalam poster versi restorasi sehingga perlu dilakukan pengamatan apakah memiliki perbedaan dengan poster yang orisinal. Secara teori, gaya indies adalah gaya yang marak berkembang dan menjadi identitas budaya pada zaman kolonial Hindia Belanda. Selainnaskah cerita, metodologi yang dipakai dalam penelitian ini adalah metode analisis deskriptif yaitu, membandingkan gambar kedua poster versi orisinal dan versi restorasi. Hasilnya adalah gaya ilustrasi indies dipandang dapat mengkomunikasikan isi dan cerita film serta masih dapat menggambarkan suasana pada film Tiga Dara secara tepat.
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Putri, Annisa Eka, and Nurochman. "SEMIOTIC ANALYSIS IN TO ALL THE BOYS TRILOGY MOVIE POSTERS." Journal of Language and Literature 9, no. 2 (2021): 183–99. http://dx.doi.org/10.35760/jll.2021.v9i2.5279.
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In movie industry, posters are one of the most powerful media and important to advertise something and deliver some information to the public. Posters contain two elements: verbal (script) and visual (visual art). The problem of this research are: (1) what are semiotic signs that found in To All The Boys trilogy movie posters and (2) how is significance displayed on the verbal and visual signs in To All The Boys trilogy movie posters. The aims of this research are to find out semiotic signs that exists on To All The Boys trilogy movie posters and to describe the significance that displayed on the verbal and visual signs in To All The Boys trilogy movie posters. This research uses qualitative method by using Ferdinand De Saussure signification theory. As a result, the writer found verbal and visual sign in the object of this research. The verbal signs are shown through the ads line, movie title, movie distributor, tagline, release date, and movie logo. Meanwhile, the visual signs are shown through the background illustration of the poster, the character placement in the poster, and colors.
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Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.
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The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
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Suk, Hyeon-Jeong, and Juhee Kim. "Prediction of individual preference for movie poster designs based on graphic elements using machine learning classification." Electronic Imaging 2021, no. 11 (January 18, 2021): 163–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.11.hvei-163.
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We attempted to predict an individual’s preferences for movie posters using a machine-learning algorithm based on the posters’ graphic elements. We transformed perceptually essential graphic elements into features for machine learning computation. Fifteen university students participated in a survey designed to assess their movie poster designs (Nposter = 619). Based on the movie posters’ feature information and participants’ judgments, we modeled individual algorithms using an XGBoost classifier. We achieved prediction accuracies for these individual models that ranged between 44.70 and 71.70%, while the repeated human judgments ranged between 61.90 and 87.50%. We discussed technical challenges to advance prediction algorithm and summarized reflections on using machine learning-driven algorithms in creative work.
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Desai, Harshali. "Movie Recommendation System through Movie Poster using Deep Learning Technique." International Journal for Research in Applied Science and Engineering Technology 9, no. 4 (April 30, 2021): 1574–81. http://dx.doi.org/10.22214/ijraset.2021.33947.
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Cirasa, Robert J. "The Queer Movie Poster Book (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 1 (2006): 77–78. http://dx.doi.org/10.1353/flm.2006.0002.
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Dewi, Shella Puspita, and Khristianto Khristianto. "The Interactive Meaning of a Movie Poster: a Multimodality of Spiderman: No Way Home." JSSH (Jurnal Sains Sosial dan Humaniora) 6, no. 1 (March 21, 2022): 1. http://dx.doi.org/10.30595/jssh.v6i1.12806.
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This study aims to disclose the interpersonal meaning in movie posters. This is a semiotic study, applying Royce's (2001) intersemiotic complementarity framework. It is to analyze visual and verbal codes in the posters. The poster is taken from the official website of Marvel Studio. They are used as a medium for advertising the products. Based on the analysis, it can be identified that the visual contact is straighforward creating a demanding pose, a close-up mode presenting an emotional expression instead of the covered face, the frontal view emphasizing the bond of the character to the viewers, its eye-level presentation creating his equality to the on-lookers. All of this demanding pose was made clear by the situation informed by the verbal elements, that Spiderman had no way home. It is also a preview of the plot of the movie in this sequel. Thus, both semiotic elements in the poster have produced a unity of meaning, which puts the superhero as a part of the society in general, especially where he lives; he is not a different human being in spite of the super power he holds.
Dissertations / Theses on the topic "Movie poster"
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Forrett, Steven Lawrie. "Movie poster advertisements: A relevance theory persepctive." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3236.
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The purpose of this thesis is to examine ten movie posters while hypothesizing whether or not their tagline texts could interest a reader. A linguistic framework Relevance Theory, is used in the analysis of this project.
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Frosteryd, Victor. "Poster like it’s 1999 : Framställningar av huvudpersoner i filmaffischer från 1999." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403565.
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The purpose of the thesis is to investigate how movie posters from 1999 portray the film's main characters. I will also investigate the design of the works and find out how effective the poster was for the audience at the cinema. The analysis describes and analyzes movie posters from American films. Four questions were asked to help the essay in reaching its purpose. How are the posters designed? How is the protagonist identified through visual elements in the posters? Is there a recurring theme in how the key art is presented? How effective is the poster for the audience at the cinema? By answering these questions, I intend to gain a greater understanding of the art of film and to contribute to the science of film and marketing.
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Jonasson, Daniel, and Lise-Lott Humble. "Från Jalla! Jalla! till Snabba Cash : En semiotisk och retorisk kvalitativ analys av affischer från 2000-talet." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-20159.
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Posters had their breakthrough in 1830-1840’s all thanks to the lithographic printing technique. The poster was used as an advertising tool. In this essay, we have looked at which semiotic and rhetorical elements that are found in today’s Swedish movie posters. What kind of image and text elements does the poster use and with what function? With what and how do they persuade the audience that the movies are interesting and worth seeing? We have taken the most popular Swedish movies between 2001 and 2010, one for each year, going by the statistic found at the website of the Swedish Film Institute. We have first analyzed using a semiotic perspective (signs, codes, denotation, connotation and myth combined with Giddens´ lifestyle sectors). Then we have used a rhetorical perspective using the three persuasion categories: ethos (credibility), logos (logical) and pathos (emotional). The posters vary in their way of using different elements and tactics trying to interest audiences and communicate the intended information. Iconic pictures of people are important carriers of emotional bound codes. Symbolic signs communicate the title and names of participators. Some posters rely on the names of the actors and writers (ethos) while others focus on communicating the story (logos). Pathos is used to set the mood to connotate the genre. Every poster has its strengths and weaknesses. Promoting the strengths in the right way and finding a balance is key.
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Peterson, Caroline. "Man ville vara modern : En analys av modernistiska strömningar i svenska stumfilmsaffischer." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-70295.
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Purpose of this essay is to conduct a style analysis of Swedish silent film posters with visual storytelling and cultural memory as a theoretical basis. Concepts such as design, color and technique are studied to highlight the historical context of Swedish silent film posters.
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Lundgren, Helena. "Omslag till böcker och DVD-filmer : en jämförande studie av visuell kommunikation i omslagen till Män som hatar kvinnor och Niceville." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1555.
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This thesis is about covers of books and DVD movies. I have tried to find out if the visual communication of the covers differs between the book and movie with the same story. Do they appeal to different target groups? I have also been trying to find out what designers can do to increase the visibility of covers among others. Are there certain rules to follow for making a cover visible? To reach a conclusion I have been studying components in advertising pictures, since covers work as a kind of advertiser for the product. I have also been studying visual communication and how designers use advertising pictures to communicate with the observer. Semiotics, advertising and comparisons between the covers have been my method for analyze. I have come to the colclusion that covers of books and DVD movies do communicate in different ways and partly to different target groups. There are certain rules to follow if you want to increase the visibility of a picture among others. The results indicate that the book covers have an older target group than the DVD covers.
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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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Анисимова, П. Р., and P. R. Anisimova. "Трансформация коммуникативной роли кинозрителя в современной культуре (на примере альтернативного киноплаката) : магистерская диссертация." Master's thesis, б. и, 2020. http://hdl.handle.net/10995/94161.
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Диссертация посвящена исследованию трансформации коммуникативной роли кинозрителя в современной культуре на примере альтернативного киноплаката. Автор анализирует процесс трансформации коммуникативной системы в результате цифровой революции, влияние цифровых технологий на художественный процесс создания киноплаката, а также историю и специфику феномена альтернативного киноплаката как особой формы участия кинозрителя в кинокоммуникационных процессах. В работе представлена разработанная концептуальная и содержательная составляющие проекта городского творческого лагеря для подростков «Киноклуб: 24х36» на базе Фотографического музея «Дом Метенкова». Эмпирической базой исследования выступили результаты проведенного социологического опроса, посвященного анализу социально-культурных практик современных кинозрителей и их отношения к киноплакату.The dissertation is devoted to the study of the transformation of the communicative role of the moviegoer in modern culture on the example of an alternative movie poster. The author analyzes the process of transformation of the communication system as a result of the digital revolution, the impact of digital technologies on the artistic process of creating movie posters, as well as the history and specifics of the phenomenon of alternative movie posters as a special form of participation of the viewer in film communication processes. The paper presents the developed conceptual and content components of the project of the city creative camp for teenagers "Kinoklub: 24x36" on the Basis of the photographic Museum "Dom Metenkov". The empirical basis of the research is the results of a sociological survey devoted to the analysis of socio-cultural practices of modern moviegoers and their attitude to movie posters.
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Morisset, Vanessa. "Peinture et cinéma dans l'oeuvre de Mimmo Rotella autour de 1960." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAH037/document.
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Depuis son invention, le cinéma a bouleversé la culture, au point que, de manière récurrente, des études s'interrogent sur l'influence qu'il a eue dans la pensée d'éminents intellectuels, par exemple Michel Foucault ou Erwin Panofsky. Mais qu'en est-il de l'influence du cinéma dans le travail des artistes ? Mimmo Rotella (1918-2006), peintre d'origine calalabraise installé après-guerre à Rome, spectateur assidu et passionné de cinéma, évoque un grand nombre de films dans un corpus d'œuvres réalisées autour de 1960 : des tableaux à base d'affiches de cinéma, de genres essentiellement populaires, décollées dans les rues. Ainsi, dans le contexte de l'apogée des studios de Cincecittà et d'un pic de fréquentation des salles obscures jamais égalé en Europe, l'articulation de la peinture et du cinéma prend à ce moment précis de sa pratique une tournure singulière qui exprime l'élargissement de l'art à des références inattendues. Mais, ce faisant, ses œuvres ne risqueraient-elles pas de n'être que le symptôme d'une pratique culturelle naissante, jonglant avec des références tantôt cultivées tantôt populaires, que plus tard Hal Foster nomme l'indistinction ou Richard Peterson l'omnivorité, ou incarnent-t-elles une réelle démocratisation de l'art ?Articulées autour du moment fort que constitue l'exposition monographique intitulée Cinecittà en 1962, les différentes parties de la thèse éclairent les aspects du travail de l'artiste qui introduisent le cinéma dans le champ de l'art. Deux bornes chronologiques, un voyage aux États-Unis qui le détourne de la peinture en 1952-53 et un séjour en prison en 1964 qui lui fait fuir l'Italie, l'éloigne du milieu romain et le coupe de la suite du déroulement de l'art italien, sont déterminantes pour la nature et le contenu du corpus d'œuvres étudiées.C'est tout d'abord l'arrière plan social et culturel comme contexte d'émergence du geste artistique Rotella qui est brossé. Ensuite, est opérée une caractérisation précise des films choisis à travers les affiches afin de développer la réflexion sur l'intrusion du cinéma populaire dans l'art. Puis, dans la partie centrale, l'exposition Cinecittà est étudiée depuis sa conception jusqu'à sa réception. La suite de la thèse analyse les conséquences de cette exposition dans l'œuvre de l'artiste qui se tourne vers des films plus reconnus qu'aux débuts, notamment en s'attachant de plus en plus aux figures de stars : un autre aspect de la culture populaire émanant du cinéma s'invite alors dans le milieu de l'art, le phénomène sociologique du fan. Mais étrangement, peu de référence sont faites au cinéma italien qui vit son âge d'or au même moment, ce dernier constat ouvrant une réflexion sur la cinéphilie confrontée à la conception de « l'homme ordinaire du cinéma » selon l'expression de Jean-Louis Schefer.Ponctué par des images qui apparaissent en tête de partie et de chapitre, le texte du volume 1 évoque les œuvres et les décrit, avec des renvois à un ensemble de planches en annexe dans le volume 2. Ces incursions iconographiques rappellent combien les oeuvres sont à la source de l'ensemble de la thèse.Ainsi, le corpus étudié est le point de départ d'une réflexion sur la manière dont le cinéma et la culture médiatique se sont introduit dans l'art italien des années 1950-1960, tout en débordant ce cadre : il permet de penser comment, depuis cette époque jusqu'à aujourd'hui, certaines références médiatiques constituent le socle d'une culture commune entre le public et les artistesSince its invention, cinema has transformed culture, to the point that studies have recurrently questioned the influence it has had on the thinking of prominent intellectuals, for example on Michel Foucault or Erwin Panofsky. But what of the influence of cinema in the work of artists? Mimmo Rotella (1918-2006), a painter from Calalabria who settled in post-war Rome, and an avid filmgoer with a passion for cinema, evokes a large number of films in a corpus of works produced around 1960: canvases based on movie posters, mostly of popular genres, torn off the city walls. Thus, at this precise time, in the context of the glory years of the Cincecittà studios and a peak of cinema attendance unequalled in Europe, the relationship between painting and cinema took a particular turn, reflecting a broadening of the art to unexpected references. But in embracing cinema, were Rotella's works not in danger of merely being a symptom of an emerging cultural practice, juggling sometimes cultivated and sometimes popular references, something which Hal Foster would later dub nobrow or Richard Peterson omnivorousness, or do they represent a genuine democratisation of art?Articulated around the high point of the 1962 monographic exhibition entitled Cinecittà, the various sections of the thesis illuminate aspects of the work of the artist who introduced cinema into the field of art. Two moments in time – a trip to the United States that diverted Rotella from painting in 1952-53 and a prison stay in 1964 that caused him to flee Italy, distancing him from the Roman scene and subsequently cutting him off from what was happening in Italian art – are critical to the nature and the content of the corpus of works studied.We begin by considering the social and cultural context in which Rotella's artistic act emerged. We then undertake a precise characterisation of the films he chose through the posters to analyse popular cinema's intrusion into art. Then, in the central part, the Cinecittà exhibition is studied from its conception to its reception. The thesis subsequently examines the consequences of this exhibition in the work of the artist, who begins to turn to more recognized films, for example by focusing increasingly on stars. Another aspect of popular culture stemming from cinema then enters the art world, the sociological phenomenon of the fan, although, strangely, no reference is made to Italian cinema, which in that very period was enjoying its golden age. This leads to a reflection on the love of cinema confronted with the conception of “the common man of cinema” as Jean-Louis Schefer puts it.Interspersed with images that appear at the head of the parts and chapters of the thesis, the text of volume 1 discusses the works and describes them with reference to a set of plates in the appendix in volume 2. These incursions into the iconography recall that the works are the source of the entire thesis.Thus the corpus studied is the starting point for a reflection on the way film and media culture were introduced into the Italian art of the 1950s-1960s, while extending beyond this context: it points to how, from that time to the present day, certain media references have constituted the foundation of a common culture shared by the public and artists
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Leandro, José Israel Pereira. "Multimodalidades e leitura de cartazes de filmes." Pós-Graduação Profissional em Letras, 2017. https://ri.ufs.br/handle/riufs/6922.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESThis TCF presents a movie poster reading practice to classes of Portuguese Language of the last grades of Elementary Teaching. Its contribution stemed from the principle that the reading conception and textual production, nowadays pass for a moment of deep conceptual and methodological changes. Because of this, this proposal seek to understand the text in a multimodal perspective: an heterogeneous element of language that can combine as the verbal language as any other types of language to messages creation. Starting from this plural comprehension of language it is proposed a movie poster reading practice through its compositional resources. Methodologically, for the fact that it is a study about the genre movie poster that materialize it in real situations of use, this research brings a study about the question of multimodality, multiliteracies and the new Technologies of Communication and Information TICs, to use these theories in the locus where they were applied. As principal theoretical reason they will be discussed the conceptions about multimodality and multiliteracies according to Rojo (2012), Dionisio (2005), the conceptions about reading from Kleiman (2013), the conceptions about the Grammar of Visual Design (GVD) from Kress and Van Leeuwen (1996) and many other authors. In addition to these concepts it also discusses the language teaching in a traditional perspective in opposition to a teaching with interaction, understood as a cultural and socio-historical process. Also deepen the discussion about textual genres and how the TICs contribute to the creation and disclosure of them, in this regard, the discussion about the TICs dialogues with the approach done about the relevance that the Learning Objects (LO) offer to the learning of students and teachers. For the fact that it is a work performed for the reading if images, it is done a study of posters of movies that represents the corpus of this work. As theoretical reason, it does the use of the postulancies of the GVD in the words of Magalhaes (2013), Santos (2011), Morais (2011), Almeida (2012) and many others. After all these discussions we have a presentation of a series of activities done in class that seek to check the importance of the concepts presented in this proposal. Who justify this practice is Gil (2002) and Dell’ Isola (2007). As pedagogical proposal for this work we present as product the creation of a pedagogical video (an OA) that condense the concepts worked in this dissertation and presents a proposal of analysis of movie posters to awake in the students the practices of analysis of multimodal texts.
Este TCF apresenta uma prática de leitura de cartazes de filmes para as aulas de Língua Portuguesa das séries finais do Ensino Fundamental. Sua constituição partiu do princípio de que a concepção de leitura e de produção textual, na atualidade, passa por um momento de profundas mudanças conceituais e metodológicas. Por causa disso, esta proposta busca compreender o texto numa perspectiva multimodal: um elemento heterogêneo da linguagem que pode combinar tanto a linguagem verbal quanto quaisquer outros tipos de linguagens para a criação de mensagens. Partindo-se dessa compreensão plural da linguagem, propõe-se uma prática de leitura do cartaz de filme a partir de seus recursos composicionais. Metodologicamente, por se tratar de um estudo sobre o gênero cartaz de filme que se materializa em situações reais de uso, esta pesquisa traz um estudo sobre a questão da multimodalidade, dos multiletramentos e das novas Tecnologias da Comunicação e Informação (TICs), para então usar essas teorias no locus onde elas foram aplicadas. Como fundamentação teórica principal serão discorridas as concepções sobre multimodalidade e multiletramentos segundo Rojo (2012), Dionisio (2005), as concepções sobre leitura em Kleiman (2013), as concepções sobre Gramática do Design Visual (GDV) de Kress e van Leeuwen (1996), e muitos outros autores. Além desses conceitos, discute-se também o ensino do idioma numa perspectiva tradicional em contraposição a um ensino como interação, compreendido como um processo sócio-histórico e cultural. Também se aprofunda o debate sobre gêneros textuais e como as TICs contribuem para a criação e divulgação deles, neste sentido, o debate sobre as TICs dialoga com a abordagem feita sobre a relevância que os Objetos de Aprendizagem (OAs) oferecem a aprendizagem de alunos e professores. Por se tratar de um trabalho realizado para a leitura de imagens, é realizado um estudo dos cartazes de filmes que representam o corpus desse trabalho. Como fundamentação teórica, faz-se uso dos postulados da GDV nas palavras de Magalhães (2013), Santos (2011), Moraes (2011), Almeida (2012) e muitos outros autores. Após todas estas discussões temos a apresentação de uma série de atividades realizadas em sala que procuram conferir a importância dos conceitos apresentados nessa proposta. Quem fundamenta essa prática é Gil (2002) e Dell’ Isola (2007). Como proposta pedagógica para este trabalho, apresentamos como produto a criação de um vídeo pedagógico (um OA) que condensa os conceitos trabalhados nesta dissertação e apresenta uma proposta de análise de cartazes de filmes para despertar nos alunos as práticas de análise dos testos multimodais.
Itabaiana, SE
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Chang, Zhi-Min, and 張智閔. "The Creation Practice for The Hand Painted Movie Poster with AR Application." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/fg36cd.
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碩士亞洲大學
數位媒體設計學系
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A beautiful and distinctive movie poster is one of the indispensable media for promoting movies. In addition to promoting film information, the most important thing in film posters is the conveyance of film content and spirit. The development of movie posters follows the film itself, and the two coexist, film and movie posters evolve with the times. From the advent of the early Lumière film, the first film poster in human history was also published. Until the industrial development, advances in printing and papermaking technology, the importance of movie posters used to promote movies has also increased. Most of the early movie posters were hand-painted. In the most prosperous period of the film, the hand-painted movie poster industry has also reached its peak. Until the emergence of computer equipment, the efficiency of computer work and the effect of post-production special effects are far greater than traditional hand-painting, and the traditional hand-painted movie posters are gradually replaced by photo synthesis and post-production. This study first discusses the development of film posters, understands the origin of film posters, and how the Taiwanese film posters have changed with the development of the film after the film was introduced to Taiwan. Then, the masters of Taiwanese hand-painted movie posters, Chen Zifu, Yan Zhenfa, and Xie Senshan, used their hand-painted movie posters as the analysis object of poster design composition. Understand the use of traditional hand-painted movie posters in image, text, layout, and color design, and draw the following three conclusions: 1 ) Traditional hand-painted posters are rich in images and texts; 2 ) The movie title text of traditional hand-painted posters will have different font designs for different movie content; 3 ) More of the traditional hand-painted posters will appear in the film's brilliant bridge. And attending the "Hand-painted Board Creative Training Camp" held at the CM_Movie Theatre in Tainan. I also asked Master Yan Zhenfa about the experience and skills of hand-painted movie posters and applied them to the posters of hand-painted movie posters. The theme of hand-painted movie poster creation in this study divides the development of Taiwanese film into three periods through the literature discussion section: 1 ) Taiwanese film golden age; 2 ) Chinese film during the rise; 3 ) The recovery period of the Chinese film. Then, in the golden age of the Taiwanese film and the rise of the Mandarin film, the film was selected according to the era and has other historical representative meanings. In the recovery period of the Chinese film, the selection of film materials at the box office broke through 100 million Taiwan dollars and the film connotation has Taiwanese local culture. After the hand-painted movie poster is completed, the augmented reality technology will be introduced on the display of the hand-drawn movie poster. When the smart mobile vehicle detects a movie on the screen, the screen will pop up the movie-related information, so that the retro-style hand-painted movie poster can give the viewer a new experience. Through this study, we will organize, analyze and explain the development of film posters and the visual design and presentation of film posters. I hope that the connotation and spirit of the film can be conveyed to the viewer through creation, and provide a reference for future interested parties or researchers of hand-painted movie posters.
Books on the topic "Movie poster"
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Warshaw, Matt. Surf movie tonite!: Surf movie poster art, 1957-2004. San Francisco, CA: Chronicle Books, 2006.
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Scholastic Inc. Heroes: Harry Potter movie poster book. New York: Scholastic, 2010.
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Warren, Jon R. Warren's movie poster price guide: Complete index and price guide to movie posters : 1930-1959. San Bernardino, Calif: R. Reginald/Borgo Press, 1986.
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Scholastic Inc. Harry Potter and the Half-Blood Prince: Movie Poster Book. New York, USA: Scholastic, 2008.
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Spencer, Drate, Sarowitz Sam, and Kehr Dave, eds. Art of the modern movie poster: International postwar style and design. San Francisco: Chronicle Books, 2008.
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Poole, Edwin E. Collecting movie posters: An illustrated reference guide to movie art-- posters, press kits, and lobby cards. Jefferson, N.C: McFarland & Co., 1997.
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Jutka, Salavetz, Kehr Dave, and Posteritati (Firm), eds. The independent movie poster book: From the collection of the Posteritati Gallery. New York: H.N. Abrams, 2004.
Find full textBook chapters on the topic "Movie poster"
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Wang, Yan, Tao Mei, and Xian-Sheng Hua. "Community Discovery from Movie and Its Application to Poster Generation." In Lecture Notes in Computer Science, 107–17. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-17832-0_11.
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Ivasic-Kos, Marina, Miran Pobar, and Ivo Ipsic. "Automatic Movie Posters Classification into Genres." In ICT Innovations 2014, 319–28. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-09879-1_32.
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Ghosh, Mridul, Himadri Mukherjee, Sayan Saha Roy, Sk Md Obaidullah, K. C. Santosh, and Kaushik Roy. "Script Identification of Movie Titles from Posters." In Communications in Computer and Information Science, 111–24. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0507-9_10.
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Fan, Litao, Zhao Huang, and Chao Qi. "Effective Movie Recommendation Using User Frequency Based Collaborative Filtering Algorithm." In HCI International 2021 - Posters, 489–94. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78642-7_65.
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Rolo, Elisabete, and Maria do Carmo Kattau Lopes. "Graphic Design and Cinema: Portuguese Movie Posters from the Nouvelle Vague Period." In Advances in Ergonomics in Design, 609–20. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20227-9_57.
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Ivasic-Kos, Marina, and Miran Pobar. "Multi-label Classification of Movie Posters into Genres with Rakel Ensemble Method." In Artificial Intelligence XXXIV, 370–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-71078-5_31.
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Borsenberger, Claire, Olaf Klargaard, and Philippe Régnard. "Digital Identities: A Good Move for Postal Operators." In The Changing Postal and Delivery Sector, 223–32. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-46046-8_14.
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Sengupta, Anita. "Eurasia on the move." In Transitions in Post-Soviet Eurasia, 245–54. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003193418-16.
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Kivimäki, Ville. "Experiencing Trauma Before Trauma: Posttraumatic Memories, Nightmares and Flashbacks Among Finnish Soldiers." In Palgrave Studies in the History of Experience, 89–117. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84663-3_4.
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AbstractThis chapter discusses the appearance of trauma symptoms among the Finnish soldiers of World War II. Kivimäki analyzes three kinds of sources: wartime psychiatric patient files, war veterans’ dream reminiscences and war-related fiction movies in the postwar era. These materials reveal that posttraumatic memories, nightmares and flashbacks were a wide-spread phenomenon already in the 1940s, although the concept of trauma was not yet developed within Finnish psychiatry. The chapter suggests that traumatic symptoms are not simply born out of psychiatric paradigms, but that the culture that shapes and produces the symptoms must be understood more broadly. In the end, Kivimäki proposes the concept of experience as a move forward in the historical analysis of human reactions to trauma.
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Dalleo, Raphael, and Elena Machado Sáez. "Movin’ On Up and Out." In The Latino/a Canon and the Emergence of Post-Sixties Literature, 73–105. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230605169_4.
Full textConference papers on the topic "Movie poster"
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Persada, Satria Indra Praja. "Semiotic Analysis of Gundala Movie Poster." In Proceedings of the International Conference on Business, Economic, Social Science, and Humanities – Humanities and Social Sciences Track (ICOBEST-HSS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200108.029.
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Sirattanajakarin, Sorratat, and Panita Thusaranon. "Movie Genre in Multi-label Classification Using Semantic Extraction from Only Movie Poster." In ICCCM 2019: The 7th International Conference on Computer and Communications Management. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3348445.3348475.
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Marcellus, Marcellus, Dyah Erny Herwindiati, and Janson Hendryli. "Movie Poster Genre Classification with Convolutional Neural Network." In 2021 IEEE Seventh International Conference on Multimedia Big Data (BigMM). IEEE, 2021. http://dx.doi.org/10.1109/bigmm52142.2021.00020.
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Matsuzaki, Yuta, Kazushige Okayasu, Takaaki Imanari, Naomichi Kobayashi, Yoshihiro Kanehara, Ryousuke Takasawa, Akio Nakamura, and Hirokatsu Kataoka. "Could you guess an interesting movie from the posters?: An evaluation of vision-based features on movie poster database." In 2017 Fifteenth IAPR International Conference on Machine Vision Applications (MVA). IEEE, 2017. http://dx.doi.org/10.23919/mva.2017.7986919.
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Shi, Zhongyi. "Preliminary Exploration of Calligraphy Elements in Chinese Movie Poster Design." In Proceedings of the 1st International Symposium on Innovation and Education, Law and Social Sciences (IELSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ielss-19.2019.59.
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Hossain, Nayeem, Md Martuza Ahamad, Sakifa Aktar, and Mohammad Ali Moni. "Movie Genre Classification with Deep Neural Network using Poster Images." In 2021 International Conference on Information and Communication Technology for Sustainable Development (ICICT4SD). IEEE, 2021. http://dx.doi.org/10.1109/icict4sd50815.2021.9396778.
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Gozuacik, Necip, and C. Okan Sakar. "Turkish Movie Genre Classification from Poster Images using Convolutional Neural Networks." In 2019 11th International Conference on Electrical and Electronics Engineering (ELECO). IEEE, 2019. http://dx.doi.org/10.23919/eleco47770.2019.8990490.
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Chu, Wei-Ta, and Hung-Jui Guo. "Movie Genre Classification based on Poster Images with Deep Neural Networks." In MM '17: ACM Multimedia Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3132515.3132516.
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Adams, Brett, Chitra Dorai, and Svetha Venkatesh. "Study of shot length and motion as contributing factors to movie tempo (poster session)." In the eighth ACM international conference. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/354384.354530.
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Sukarwo, W., A. Muntazori, and M. Fauzie. "Nativization and Formation of Collective Memory in Urban Design: a Semiotic Analysis of The Sultan Agung 2018 Movie Poster." In 2nd Workshop on Language, Literature and Society for Education. EAI, 2019. http://dx.doi.org/10.4108/eai.21-12-2018.2282776.
Full textReports on the topic "Movie poster"
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.
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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.
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Chauhan, Dharmistha, and Swapna Bist Joshi. The World Bank in Asia: An assessment of COVID-19-related investments through a care lens. Care-responsive investments and development finance. Oxfam, December 2021. http://dx.doi.org/10.21201/2021.8182.
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International financial institutions (IFIs) and multilateral development banks have been playing a vital role in the response, recovery and ‘build back anew’ agenda from the COVID-19 pandemic. This is especially true of the World Bank Group (WBG), given its high volumes of committed investments across sectors, especially in low-income and vulnerable countries. This report presents, through case studies, how care-responsive the World Bank’s COVID-19-related investments have been in four member countries: Bangladesh, Cambodia, Nepal and the Philippines. It does so by using the Care Principles and Care-Responsive Barometer for IFIs to assess the nature of the WBG’s post-COVID recovery investments in these select countries, and by building evidence through a gender- and care-responsive budget review. The foundation for care inclusion has already been laid in WBG policy. The report uses this as an entry point to urge it to bring women’s unpaid, underpaid and paid work to the centre of the IFI agenda in order to move towards rebuilding a more gender-just and equal future.
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Epel, Bernard L., Roger N. Beachy, A. Katz, G. Kotlinzky, M. Erlanger, A. Yahalom, M. Erlanger, and J. Szecsi. Isolation and Characterization of Plasmodesmata Components by Association with Tobacco Mosaic Virus Movement Proteins Fused with the Green Fluorescent Protein from Aequorea victoria. United States Department of Agriculture, September 1999. http://dx.doi.org/10.32747/1999.7573996.bard.
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The coordination and regulation of growth and development in multicellular organisms is dependent, in part, on the controlled short and long-distance transport of signaling molecule: In plants, symplastic communication is provided by trans-wall co-axial membranous tunnels termed plasmodesmata (Pd). Plant viruses spread cell-to-cell by altering Pd. This movement scenario necessitates a targeting mechanism that delivers the virus to a Pd and a transport mechanism to move the virion or viral nucleic acid through the Pd channel. The identity of host proteins with which MP interacts, the mechanism of the targeting of the MP to the Pd and biochemical information on how Pd are alter are questions which have been dealt with during this BARD project. The research objectives of the two labs were to continue their biochemical, cellular and molecular studies of Pd composition and function by employing infectious modified clones of TMV in which MP is fused with GFP. We examined Pd composition, and studied the intra- and intercellular targeting mechanism of MP during the infection cycle. Most of the goals we set for ourselves were met. The Israeli PI and collaborators (Oparka et al., 1999) demonstrated that Pd permeability is under developmental control, that Pd in sink tissues indiscriminately traffic proteins of sizes of up to 50 kDa and that during the sink to source transition there is a substantial decrease in Pd permeability. It was shown that companion cells in source phloem tissue export proteins which traffic in phloem and which unload in sink tissue and move cell to cell. The TAU group employing MP:GFP as a fluorescence probe for optimized the procedure for Pd isolation. At least two proteins kinases found to be associated with Pd isolated from source leaves of N. benthamiana, one being a calcium dependent protein kinase. A number of proteins were microsequenced and identified. Polyclonal antibodies were generated against proteins in a purified Pd fraction. A T-7 phage display library was created and used to "biopan" for Pd genes using these antibodies. Selected isolates are being sequenced. The TAU group also examined whether the subcellular targeting of MP:GFP was dependent on processes that occurred only in the presence of the virus or whether targeting was a property indigenous to MP. Mutant non-functional movement proteins were also employed to study partial reactions. Subcellular targeting and movement were shown to be properties indigenous to MP and that these processes do not require other viral elements. The data also suggest post-translational modification of MP is required before the MP can move cell to cell. The USA group monitored the development of the infection and local movement of TMV in N. benthamiana, using viral constructs expressing GFP either fused to the MP of TMV or expressing GFP as a free protein. The fusion protein and/or the free GFP were expressed from either the movement protein subgenomic promoter or from the subgenomic promoter of the coat protein. Observations supported the hypothesis that expression from the cp sgp is regulated differently than expression from the mp sgp (Szecsi et al., 1999). Using immunocytochemistry and electron microscopy, it was determined that paired wall-appressed bodies behind the leading edge of the fluorescent ring induced by TMV-(mp)-MP:GFP contain MP:GFP and the viral replicase. These data suggest that viral spread may be a consequence of the replication process. Observation point out that expression of proteins from the mp sgp is temporary regulated, and degradation of the proteins occurs rapidly or more slowly, depending on protein stability. It is suggested that the MP contains an external degradation signal that contributes to rapid degradation of the protein even if expressed from the constitutive cp sgp. Experiments conducted to determine whether the degradation of GFP and MP:GFP was regulated at the protein or RNA level, indicated that regulation was at the protein level. RNA accumulation in infected protoplast was not always in correlation with protein accumulation, indicating that other mechanisms together with RNA production determine the final intensity and stability of the fluorescent proteins.
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Aly, Radi, James H. Westwood, and Carole L. Cramer. Novel Approach to Parasitic Weed Control Based on Inducible Expression of Cecropin in Transgenic Plants. United States Department of Agriculture, May 2003. http://dx.doi.org/10.32747/2003.7586467.bard.
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Our overall goal was to engineer crop plants with enhanced resistance to Orobanche (broomrape) based on the inducible expression of sarcotoxin-like peptide (SLP). A secondary objective was to localize small proteins such as SLP in the host-parasite union in order to begin characterizing the mechanism of SLP toxicity to Orobanche. We have successfully accomplished both of these objectives and have demonstrated that transgenic tobacco plants expressing SLP under control of the HMG2 promoter show enhanced resistance to O. aegyptiaca and O. ramosa . Furthermore, we have shown that proteins much larger than the SLP move into Orobanche tubercles from the host root via either symplastic or apoplastic routes. This project was initiated with the finding that enhanced resistance to Orobanche could be conferred on tobacco, potato, and tomato by expression of SLP (Sarcotoxin IA is a 40-residue peptide produced as an antibiotic by the flesh fly, Sarcophaga peregrina ) under the control of a low-level, root-specific promoter. To improve the level of resistance, we linked the SLP gene to the promoter from HMG2, which is strongly inducible by Orobanche as it parasitizes the host. The resulting transgenic plants express SLP and show increased resistance to Orobanche. Resistance in this case is manifested by increased growth and yield of the host in the presence of the parasite as compared to non-transgenic plants, and decreased parasite growth. The mechanism of resistance appears to operate post-attachment as the parasite tubercles attached to the transgenic root plants turned necrotic and failed to develop normally. Studies examining the movement of GFP (approximately 6X the size of SLP) produced in tobacco roots showed accumulation of green fluorescence in tubercles growing on transformed plants but not in those growing on wild-type plants. This accumulation occurs regardless of whether the GFP is targeted to the cytoplasm (translocated symplastically) or the apoplastic space (translocated in xylem). Plants expressing SLP appear normal as compared to non-transgenic plants in the absence of Orobanche, so there is no obvious unintended impact on the host plant from SLP expression. This project required the creation of several gene constructs and generation of many transformed plant lines in order to address the research questions. The specific objectives of the project were to: 1. Make gene constructs fusing Orobanche-inducible promoter sequences to either the sarcotoxin-like peptide (SLP) gene or the GFP reporter gene. 2. Create transgenic plants containing gene constructs. 3. Characterize patterns of transgene expression and host-to-parasite movement of gene products in tobacco ( Nicotiana tabacum L.) and Arabidopsis thaliana (L.). 4. Characterize response of transgenic potato ( Solanum tuberosum L.) and tomato ( Lycopersicon esculentum Mill .) to Orobanche in lab, greenhouse, and field. Objectives 1 and 2 were largely accomplished during the first year during Dr. Aly's sabbatical visit to Virginia Tech. Transforming and analyzing plants with all the constructs has taken longer than expected, so efforts have concentrated on the most important constructs. Work on objective 4 has been delayed pending the final results of analysis on tobacco and Arabidopsis transgenic plants. The implications of this work are profound, because the Orobanche spp. is an extremely destructive weed that is not controlled effectively by traditional cultural or herbicidal weed control strategies. This is the first example of engineering resistance to parasitic weeds and represents a unique mode of action for selective control of these weeds. This research highlights the possibility of using this technique for resistance to other parasitic species and demonstrates the feasibility of developing other novel strategies for engineering resistance to parasitic weeds.
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Lazonick, William, Philip Moss, and Joshua Weitz. The Unmaking of the Black Blue-Collar Middle Class. Institute for New Economic Thinking Working Paper Series, May 2021. http://dx.doi.org/10.36687/inetwp159.
Full textAbstract:
In the decade after the Civil Rights Act of 1964, African Americans made historic gains in accessing employment opportunities in racially integrated workplaces in U.S. business firms and government agencies. In the previous working papers in this series, we have shown that in the 1960s and 1970s, Blacks without college degrees were gaining access to the American middle class by moving into well-paid unionized jobs in capital-intensive mass production industries. At that time, major U.S. companies paid these blue-collar workers middle-class wages, offered stable employment, and provided employees with health and retirement benefits. Of particular importance to Blacks was the opening up to them of unionized semiskilled operative and skilled craft jobs, for which in a number of industries, and particularly those in the automobile and electronic manufacturing sectors, there was strong demand. In addition, by the end of the 1970s, buoyed by affirmative action and the growth of public-service employment, Blacks were experiencing upward mobility through employment in government agencies at local, state, and federal levels as well as in civil-society organizations, largely funded by government, to operate social and community development programs aimed at urban areas where Blacks lived. By the end of the 1970s, there was an emergent blue-collar Black middle class in the United States. Most of these workers had no more than high-school educations but had sufficient earnings and benefits to provide their families with economic security, including realistic expectations that their children would have the opportunity to move up the economic ladder to join the ranks of the college-educated white-collar middle class. That is what had happened for whites in the post-World War II decades, and given the momentum provided by the dominant position of the United States in global manufacturing and the nation’s equal employment opportunity legislation, there was every reason to believe that Blacks would experience intergenerational upward mobility along a similar education-and-employment career path. That did not happen. Overall, the 1980s and 1990s were decades of economic growth in the United States. For the emerging blue-collar Black middle class, however, the experience was of job loss, economic insecurity, and downward mobility. As the twentieth century ended and the twenty-first century began, moreover, it became apparent that this downward spiral was not confined to Blacks. Whites with only high-school educations also saw their blue-collar employment opportunities disappear, accompanied by lower wages, fewer benefits, and less security for those who continued to find employment in these jobs. The distress experienced by white Americans with the decline of the blue-collar middle class follows the downward trajectory that has adversely affected the socioeconomic positions of the much more vulnerable blue-collar Black middle class from the early 1980s. In this paper, we document when, how, and why the unmaking of the blue-collar Black middle class occurred and intergenerational upward mobility of Blacks to the college-educated middle class was stifled. We focus on blue-collar layoffs and manufacturing-plant closings in an important sector for Black employment, the automobile industry from the early 1980s. We then document the adverse impact on Blacks that has occurred in government-sector employment in a financialized economy in which the dominant ideology is that concentration of income among the richest households promotes productive investment, with government spending only impeding that objective. Reduction of taxes primarily on the wealthy and the corporate sector, the ascendancy of political and economic beliefs that celebrate the efficiency and dynamism of “free market” business enterprise, and the denigration of the idea that government can solve social problems all combined to shrink government budgets, diminish regulatory enforcement, and scuttle initiatives that previously provided greater opportunity for African Americans in the government and civil-society sectors.
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Epel, Bernard, and Roger Beachy. Mechanisms of intra- and intercellular targeting and movement of tobacco mosaic virus. United States Department of Agriculture, November 2005. http://dx.doi.org/10.32747/2005.7695874.bard.
Full textAbstract:
To cause disease, plant viruses must replicate and spread locally and systemically within the host. Cell-to-cell virus spread is mediated by virus-encoded movement proteins (MPs), which modify the structure and function of plasmodesmata (Pd), trans-wall co-axial membranous tunnels that interconnect the cytoplasm of neighboring cells. Tobacco mosaic virus (TMV) employ a single MP for cell- cell spread and for which CP is not required. The PIs, Beachy (USA) and Epel (Israel) and co-workers, developed new tools and approaches for study of the mechanism of spread of TMV that lead to a partial identification and molecular characterization of the cellular machinery involved in the trafficking process. Original research objectives: Based on our data and those of others, we proposed a working model of plant viral spread. Our model stated that MPᵀᴹⱽ, an integral ER membrane protein with its C-terminus exposed to the cytoplasm (Reichel and Beachy, 1998), alters the Pd SEL, causes the Pd cytoplasmic annulus to dilate (Wolf et al., 1989), allowing ER to glide through Pd and that this gliding is cytoskeleton mediated. The model claimed that in absence of MP, the ER in Pd (the desmotubule) is stationary, i.e. does not move through the Pd. Based on this model we designed a series of experiments to test the following questions: -Does MP potentiate ER movement through the Pd? - In the presence of MP, is there communication between adjacent cells via ER lumen? -Does MP potentiate the movement of cytoskeletal elements cell to cell? -Is MP required for cell-to-cell movement of ER membranes between cells in sink tissue? -Is the binding in situ of MP to RNA specific to vRNA sequences or is it nonspecific as measured in vitro? And if specific: -What sequences of RNA are involved in binding to MP? And finally, what host proteins are associated with MP during intracellular targeting to various subcellular targets and what if any post-translational modifications occur to MP, other than phosphorylation (Kawakami et al., 1999)? Major conclusions, solutions and achievements. A new quantitative tool was developed to measure the "coefficient of conductivity" of Pd to cytoplasmic soluble proteins. Employing this tool, we measured changes in Pd conductivity in epidermal cells of sink and source leaves of wild-type and transgenic Nicotiana benthamiana (N. benthamiana) plants expressing MPᵀᴹⱽ incubated both in dark and light and at 16 and 25 ᵒC (Liarzi and Epel, 2005 (appendix 1). To test our model we measured the effect of the presence of MP on cell-to-cell spread of a cytoplasmic fluorescent probe, of two ER intrinsic membrane protein-probes and two ER lumen protein-probes fused to GFP. The effect of a mutant virus that is incapable of cell-to-cell spread on the spread of these probes was also determined. Our data shows that MP reduces SEL for cytoplasmic molecules, dilates the desmotubule allowing cell-cell diffusion of proteins via the desmotubule lumen and reduces the rate of spread of the ER membrane probes. Replicase was shown to enhance cell-cell spread. The data are not in support of the proposed model and have led us to propose a new model for virus cell-cell spread: this model proposes that MP, an integral ER membrane protein, forms a MP:vRNAER complex and that this ER-membrane complex diffuses in the lipid milieu of the ER into the desmotubule (the ER within the Pd), and spreads cell to cell by simple diffusion in the ER/desmotubule membrane; the driving force for spread is the chemical potential gradient between an infected cell and contingent non-infected neighbors. Our data also suggests that the virus replicase has a function in altering the Pd conductivity. Transgenic plant lines that express the MP gene of the Cg tobamovirus fused to YFP under the control the ecdysone receptor and methoxyfenocide ligand were generated by the Beachy group and the expression pattern and the timing and targeting patterns were determined. A vector expressing this MPs was also developed for use by the Epel lab . The transgenic lines are being used to identify and isolate host genes that are required for cell-to-cell movement of TMV/tobamoviruses. This line is now being grown and to be employed in proteomic studies which will commence November 2005. T-DNA insertion mutagenesis is being developed to identify and isolate host genes required for cell-to-cell movement of TMV.