Dissertations / Theses on the topic 'Movie poster'

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.

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.

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.

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.

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.

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 alpestresfondamentaux
The 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

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.

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 artistes
Since 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

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This 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

碩士
亞洲大學
數位媒體設計學系
106
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.

碩士
國立雲林科技大學
視覺傳達設計系碩士班
99
Movie poster is a type of commercial poster and has the function of conveying information about the movie. Horror movie in particular is a movie genre that has always been popular. Comparing with movies in other genres, horror movie reflects the social, scientific and philosophical thoughts more. Thus, in the research, focus group, questionnaire survey and KJ method were applied to discuss the images on horror movie posters from the viewpoint of semiotics. The research design was carried out in four phases. In the first phase, focus group was applied; after the posters of the 145 horror movies elected by Amazon.com were collected, they were categorized into categories and the names of the categories were defined. In the second phase, “Open questions” was used to investigate the differences in the interpretation for the images on the posters between people with visual communication design background (25 people) and people without visual communication design background (25 people); the vocabularies the subjects were able to interpret were also collected. In the third phase, the vocabularies collected in the second phase were used as the basis for the questionnaire design and “Closed questions” was applied to investigate the differences in the conformity degree for the meaning of the images on the posters between people with visual communication design background (40 people) and people without visual communication design background (40 people). Specific results obtained from the research were: 6. The images of horror movie posters were divided into nine main categories: Villain, Movie scene, Movie situation, Blood, Facial expression, Eyes, Knives, Paper-cut silhouette and Skulls. Moreover, most of the images were icons and indexes that were easy to understand and not many images were symbols that had wide interpretation arbitrariness. In terms of the shifting of meaning, most of them used simile and metonymy and not many of them used metaphor. 7. For the “Open questions” applied in the second phase, people with visual communication design background were able to interpret an average of 83 vocabularies whereas people without visual communication design background were able to interpret an average of 81 vocabularies and the rate for overlapped interpretation was 91%. The result showed that, for the interpretation of the images on the posters, the difference between people with different backgrounds was not significant. 8. For the result of the investigation on the conformity degree for the meaning of the images on the posters, the Kendall coefficient of concordance test showed significance level (P＜0.05). Thus, it is known that the opinions on the interpretation order for the meaning of the images on the horror movie posters by subjects with different backgrounds were similar. In terms of the meaning, the conformity degree in categories such as Movie situation, Paper-cut silhouette, Knives, Movie scene, Skulls, Villain and Blood showed high levels of consensus. 9. From the result of the investigation on the conformity degree between the images on the posters and the horror movie categories, the samples that showed high level of consensus among people with different backgrounds were: Skulls – Supernatural, Knives – Murder, Blood – Thriller, Facial expression – Thriller, Paper-cut silhouette – Thriller, Movie situation – Disaster, Villain – Monster and Movie scene – Disaster. For the above, the top three categories that showed highest level of conformity were: Knives, Blood and Skulls. It indicated that, in terms of determining the movie category, the three images were symbols with high redundancy. 10. From the result of the investigation on the conformity degree between the images on the posters and the horror movie categories, the opinions of all subjects and the current status of poster design were compared and the horror movie categories with high image use consensus were: Monster (Villain), Murder (Knives), Thriller (Facial expression, Paper-cut silhouette) and Disaster (Movie situation).

碩士
國立臺灣師範大學
設計學系
102
We live in an era of information explosion. People are obsessed with their smartphones and other communication devices, being remote from one another. Sci-fi movies are after fancy special effects to bring visual stimulation. There are more and more commercial movies which put the emphasis on attracting the crowd but lack depth. Technology creates wonders which realize people’s dreams and improve the quality of life. However, too much reliance on technology prevents us from being close with each other. The texture and touch of collage reminds people of being closer to the reality rather than 3C world. Sci-fi movies are the metaphor for people who pursue only effects but ignore the depth. The combination of collage and Sci-fi is not only a similarity but a comparison; as the duality mentioned in semiology, they complement one another. They both create stuffs by generating the elements with wild imagination, but differ in artistic technique. The core value of this research is to break people’s strong stereotype that the posters of Sci-fi movies are exquisite. Through the innovative skill, the creation is trying to wake people up to feel deeper in their lives. The completion of this creation applies the information and document of collage and Sci-fi movies. Also, the collage and computer graphics together bring the perfect effect on it. The themes are chosen from the top 10 classic Sci-fi movies listed by AFI. Absorbing the ideas from movies and restructured by collage, the results will be explicated by each of the following.

碩士
國立臺灣師範大學
資訊工程學系
105
In recent years, people have a variety of entertainments; however, watching movies is still the primary choice of many people. Movie posters are playing an important role in advertising a film. People can easily capture the concepts of a poster based on the visual cues it reveals. But, what exactly are the concepts? In this paper, we assume that the design of a movie poster is related to the movie genre; in other words, movies of the same genre may use a similar style in designing the movie posters. We collect movie posters from the IMP Awards website released during 2006 to 2015 as a study case and obtain the genres and keywords of each movie from the IMDb website. We use the Convolutional Neural Network as the main analysis technique, which has shown excellent performances on image recognition, to extract the features (neuron values) of a movie poster. Finally, we analyze the correlation between neuron values and keywords (and emotions), which are considered concepts a movie poster may have. Our study shows that using Convolutional Neural Network for classifying movie posters has a great performance, and the dimension of the Fc7 layer doesn’t affect the classification effectiveness. However, the correlation between neuron values and keywords (and emotions) is not obvious using the analysis approaches proposed in this thesis.

碩士
雲林科技大學
視覺傳達設計系碩士班
98
The purpose of this research was aimed at the early phase of Taiwan and Hong Kong movie poster images. It inducted a suitable visual rhetoric for thinking with images and the adornment based on the language rhetoric as well as the design style of Chinese culture. It can be divided into eight types: whodunit, society ethical film, chick flick, Folk opera pieces, comedy, Musicals,martial art film, and other types. This study was the combination of an applicable for visual rhetoric on the pattern vision; it also illustrated and the uses of the visual rhetoric movie posters of Taiwan and Hong Kong in an early phase, and compares the similarity and differences between them. After analyzing the combination of different types, the results indicated that it can be probed into the Asian culture and society from the characters in the movie posters. During the process analysis, it can be found out the formerly techniques of narrative and performance styles indeed. Through the application of visual rhetoric of movie posters in Taiwan and Hong Kong, the segmentations are diachronic, formal consideration, and emphatic visual rhetoric. The application in two areas is similar, therefore, both utilize the visual rhetoric of contrast, apposition, Trip, center, repetition , and division. They are some differences in the rhetoric. The whodunit takes advantages of concealment rhetoric in Taiwan, while martial art film employs substitution rhetoric in Hong Kong. The study found that with the art values of visual rhetoric movie posters, it also played a succeed role marketing the movies in the information conservative age.

碩士
國立雲林科技大學
資訊工程系
103
In this paper, a movie title recognition system is proposed to extract the movie title from a movie poster and transform it into words. First, the title region in a poster image is located using gradient-conversion method, and then all character images in the region are segmented using the watershed approach. Next, two kinds of features about the texture and shape defined in the MPEG-7 specification are extracted to train an SVM classifier used in recognizing those character images into words. Finally, we employ PyEnchant on each word for spelling check or even spelling revision. The experimental results show that the correct rate of title recognition would reach 90%, if the title region in a poster image can be located and segmented successfully.

碩士
國立臺灣師範大學
設計研究所在職進修碩士班
101
A stylish and unique movie poster is one of the mediums of the important propaganda for a movie. Besides assisting on promotion of the movie, it also conveys its spirit and concept. The relation of the movie art development and movie posters is being through a long historical development. Due to the age of Edison in America and Lumiere Brothers in French, the movie industry started and also brought in the movie poster for advertisement. By the end of Industry revolution, artists started to engage in this new movie poster design business. All the way until now, they do it through the mass computerizing with re-composition of the digital image, which enrich the varieties on the visual effects for the posters. This essay is to study the elements of movie poster design through the analysis of historical documentary of its image, words, color, and layout. The material is from the movies which were released from the year of 2011 until March of 2012, filtering 10 from the top 20s and the same genres to analyze the style of the posters in order to understand the visual composition and exploitation in four major parts: （１）The origin of the movie poster, its development and the ways of design. （２）Different design technique from hand-drawing, billboard posters, computerized standee, posters, or print on domestic and overseas posters. （３）Analysis of visual composition of a poster to explain the ways how a poster expresses. （４）By the results of the study to apply on personal works to understand the utilization of the design on individual creative works. From the collection and analysis of the documents to understand the origin of movie posters and further discussion on its design, we can provide the movie poster collectors such results. Also with the result of the study on movie poster creation, I hope the explanation of the design and propaganda to let the audience to get a better understanding.

碩士
國立臺中科技大學
商業設計系碩士班
100
ovie poster is an important media for movie promotion, as it can be likened to “business card” of one movie. Thus it may be known that movie poster design represents varied movie patterns. Posters of Chinese movies in Chinese language released by Taiwan, Hongkong, Singapore and China from 1965-2010 are research subjects of this study. Using theory of signs, poster design and image composition analysis, this research aims to conduct research in Chinese movie poster design and delve into its development and style and features under the context of trend of the times. This study has come up with three results. Firstly, image presentation of Chinese movie poster lies in building the image of movie stars and taking collage of stage photos as iconic formula, as written words consist mostly of artistic font. The main pattern of layout presentation features largely thematic division, with conspicuous exaggerated title. Secondly, the application of signs for Chinese movie poster design focuses on taking iconic sign of movie stars as the mainstream, getting the phenomenon of admiring movie stars reflected in sign expression for designing movie poster image. It thus presents the meaning and symbol for popular indicator of the times. Thirdly, under the context of the trend of the times, Chinese movie posters have witnessed the application of Taiwan’s graphic design to poster design and production, undergoing changes from hand-painted production, photographic printing production to photography-aided design. In the meantime, it reflects the rise and fall of cinematic culture and industry that demonstrates the orientation of design from refreshing, realistic to varied features, stage photo collage, and commercialized-formula centric design. The presentation of lifestyles then in movie poster design serves as a reflection of popular indicator and consumption pattern in the context of evolution for plebeian culture.

The main goal of the present dissertation is to explore the concept of “Diversification Strategy” and the main challenges of planning, implementing and managing it in the first years of operations. To address this strategy, a specific example of a Portuguese postal services’ incumbent, CTT – Correios de Portugal, S.A., that diversifies its business with the creation of a postal bank is covered. With the information on the international experience in this type of diversification and the current situation of the Portuguese retail banking sector, one can conclude that the postal bank may have the capacity to adapt to the demanding conditions due to a competitive advantage in some of the industry’s key success factors. This competitive advantage is identified when the company aligns its core competencies with the market characteristics. To preserve this benefit the company should assume a proactive role in exploring the external environment and be prepared for realignment situations. This initiative is crucial once several strategy-related, industry-related or company-related problems were identified during the analysis of the postal bank’s future. In both the short and the long run the postal bank will potentially face problems that may result in managerial changes such as acquisitions of other companies (to lower the risk exposure and gain more expertise in certain business areas), divestment in certain product lines and investment in foreign markets (to compensate the lower national revenues).
O principal objetivo desta dissertação é explorar o conceito de “Estratégia de Diversificação” e os principais desafios do planeamento, implementação e gestão do mesmo, durante os primeiros anos de operação. Para desenvolver este tema, é dada como exemplo a estratégia de diversificação do operador postal histórico CTT – Correios de Portugal, S.A. na criação do banco postal. Combinando a informação da experiência internacional neste tipo de diversificação com a situação atual do sector da banca de retalho em Portugal, é possível concluir que, devido à vantagem competitiva em alguns dos factores críticos de sucesso nesta indústria, o banco postal poderá ter capacidade para se adaptar às difíceis condições do mesmo. Esta vantagem competitiva é identificada aquando do alinhamento das competências centrais da empresa com as características do mercado. Para conservar esta vantagem, a empresa necessita de ter um papel proactivo no estudo dos fatores externos à mesma, de forma a estar preparada para situações de realinhamento. Esta é uma iniciativa muito importante, uma vez que foram identificados problemas relativos à estratégia de diversificação, à indústria da banca de retalho e à empresa, durante a análise do futuro do banco postal. Tanto no curto como no longo prazo, o mais provável será o banco postal defrontar-se com diferentes problemas, onde serão necessárias mudanças na sua gestão, tais como a aquisição de outras empresas, o desinvestimento em certos produtos e o investimento no mercado externo.

Dissertação de mestrado em Comunicação, Arte e Cultura
O cartaz define-se como como uma das principais ferramentas de publicidade na indústria do cinema, pois assume-se como a capa de um filme, possuindo a funcionalidade de o promover diretamente a uma audiência específica que se identifica com os elementos narrativos propostos por cada obra. Contudo, questiona-se se esta ferramenta opta por uma composição visual que vá de encontro às necessidades do seu público alvo e que em simultâneo apresente as caraterísticas distintivas de cada género cinematográfico através da linguagem da cor. Deste modo, o corrente projeto de dissertação objetiva fornecer uma abordagem reflexiva sobre a relação entre os cartazes e o significado das cores presentes em cada um deles. Através de uma análise a duzentos cartazes de cinema, divididos entre os géneros de ação, animação, comédia, drama, fantasia, ficção científica, romance, terror e thriller, consta-se que numa perspetiva geral, grande parte dos cartazes analisados demonstram uma ligação entre as cores mais frequentes na sua constituição e os desígnios atribuídos aos géneros cinematográficos nos quais se inserem. Verificando-se que a indústria cinematográfica recorre à linguagem da cor na conceção de uma grande parte dos seus cartazes.
The poster is defined as one of the main advertising tools in the film industry, being considered as the cover of a movie, as well has the functionality of promoting it directly to a specific audience that identifies with the proposed narrative elements of each movie. However, there is a doubt about if this tool opts for a visual composition that goes straight to the needs of the target audience and simultaneously presents the distinctive features of each film genre through the language of color. The current dissertation project aims to provide a reflective approach about the relationship between movie posters and the meaning of the colors present in each of these posters. Through an analysis of two hundred movie posters, divided into the genres of action, animation, comedy, drama, fantasy, science fiction, romance, horror and thriller, we can see from a general perspective, that most of the posters analyzed demonstrate a connection. between the most frequent colors in their constitution and the designs attributed to the film genres in which they belong. Then, it’s possible to verify that the film industry uses the language of color in the design of mostly of its posters.

The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...

This thesis will be focused on the analysis of the basic types of the female artificial movie characters - the beings connecting "femininity" (humanity) and technology. These characters holds the external female sexual signs or the characteristics stereotypically perceived as female (e.g. cyborg/cyborg woman, android woman, robotess). My issue will be examinated from the perspective of postmodern approach to the process of shaping their bodies and identities in relation to the narrative movie structure. The characters will be divided into categories based on their dominating physical and "social" function in the story. The subsequent identification and interpretation of physicality, identity and relations with other characters of the narrative will be based not only on principles of semiotic analysis, but will take into account especially the approach of postmodernism. The main theoretical basis for this paper will be the theory of poststructuralism and so called post theories - a theory of posthumanism, transhumanism and cyberfeminism.

The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...