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Journal articles on the topic 'Movie poster'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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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9

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.

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Baazaoui, Hajer, and Mohamed Ramzi Haddad. "A Framework for Users’ Attitude Prediction Based on Visual Features: Application to Movies Recommendations." Journal of Information & Knowledge Management 17, no. 04 (December 2018): 1850037. http://dx.doi.org/10.1142/s0219649218500375.

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Recommendation and personalisation approaches aim to filter the most interesting resources that may attract users’ personal interests and preferences by analysing their past attitudes and consumption patterns. The visual aspect of content constitutes an important factor that drives consumers’ attitudes and decisions. In this context, this work proposes a framework for users’ attitude prediction based on items’ visual descriptors and details one of its possible applications for movies recommendations. The main idea of our proposal is to model users’ interests and consumption behaviors using the movies’ posters images and extract features based on the visual descriptors of the items that they interact with, in order to better predict their attitudes towards the ones they do not know. The recommendation approach was integrated into a movies recommendation application that visually assists users while searching for relevant movies to watch, by finding similar movie posters based on the visual aspects of the poster image.

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이설민 and Kimjunkyo. "Invisible formative elements at poster layout - Focused on character-driven movie poster -." Journal of Korea Design Forum ll, no. 36 (August 2012): 17–26. http://dx.doi.org/10.21326/ksdt.2012..36.002.

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13

Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.

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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.

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Chunyuan, Liu, and Liu Li. "Research on the Application of Cultural Symbol Digitization in Movie Poster Design." E3S Web of Conferences 236 (2021): 05095. http://dx.doi.org/10.1051/e3sconf/202123605095.

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With the vigorous development of the film industry, film posters, as the first impression of the film on the audience, break the language barrier and become an important medium for the output of cultural ideology. From the perspective of cultural symbols, this article explores the differences between the digitalization of Eastern and Western cultural symbols in the design of Chinese and foreign movie posters, and analyzes the digital symbols in the design of movie posters from a cultural perspective, providing a new thinking for the digital design of cultural symbols in movie posters.

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Peng, Zhuyan. "A Multimodal Discourse Analysis of Movie Posters From the Perspective of Visual Grammar — A Case Study of "Hi, Mom"." Theory and Practice in Language Studies 12, no. 3 (March 1, 2022): 605–9. http://dx.doi.org/10.17507/tpls.1203.22.

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Poster is one of the main modes of multimodal discourse and plays a very important role in film promotion. Based on the visual grammar system under the framework of meta-functional theory, this paper gives a multimodal discourse analysis on a poster of the movie Hi, Mom. The purpose is to interpret the reproducing meaning, interactive meaning and composition meaning of the film poster, which helps to explore the connotation and thematic meaning of the film poster discourse, so as to help people better understand the theme of the film.

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우동경 and 임경호. "Analysis of Expression Appeared in a Movie Poster Tenebrism." A Journal of Brand Design Association of Korea 10, no. 2 (June 2012): 129–38. http://dx.doi.org/10.18852/bdak.2012.10.2.129.

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Narawade, Vaibhav, Aneesh Potnis, Vishwaroop Ray, and Pratik Rathor. "Movie Posters’ Classification into Multiple Genres." ITM Web of Conferences 40 (2021): 03048. http://dx.doi.org/10.1051/itmconf/20214003048.

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Our project intends to classify movies into the three most probable genres that they belong to, from a predefined set of 25 genres, based on only one image i.e the movie poster. We have made use of Convolutional Neural Networks (CNN) to realize this project as we believe it would be of help to extract the features and visual information from the image. Instead of a multi-class classification problem in which the input is classified into any one class, this project would be more correctly described as a multilabel classification problem as a movie belongs to more than one genre. In this project we see a comparative study of different architectures and tune them to yield the best result based on the metric of accuracy. We have applied various techniques such as data augmentation and L2 regularization to comparatively deduce the model that performs best from all the tested models.

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周, 小强. "Multimodal Discourse Analysis of Movie Posters from the Perspective of Visual Grammar—Taking the Movie Poster “Eight Hundred” as an Example." Modern Linguistics 09, no. 05 (2021): 1157–63. http://dx.doi.org/10.12677/ml.2021.95157.

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Collado Alonso, Rocío. "Marketing y publicidad cinematográfica El cartel de cine español." aDResearch ESIC International Journal of Communication Research 11, no. 11 (January 1, 2015): 58–77. http://dx.doi.org/10.7263/adresic-011-04.

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Budnyk, Andrii. "Establishment of Authorship of Movie Poster "Ukraziya. 7+2", 1924." Demiurge: Ideas, Technologies, Perspectives of Design, no. 2 (December 26, 2018): 69–81. http://dx.doi.org/10.31866/2617-7951.2.2018.155068.

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Mahlknecht, Johannes. "Three words to tell a story: the movie poster tagline." Word & Image 31, no. 4 (October 2, 2015): 414–24. http://dx.doi.org/10.1080/02666286.2015.1053036.

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Wi, Jeong A., Soojin Jang, and Youngbin Kim. "Poster-Based Multiple Movie Genre Classification Using Inter-Channel Features." IEEE Access 8 (2020): 66615–24. http://dx.doi.org/10.1109/access.2020.2986055.

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23

Shin, Naan. "A Strategy for Movie Poster Translation Based on Power Distance." Journal of Language Sciences 23, no. 2 (May 31, 2016): 41–60. http://dx.doi.org/10.14384/kals.2016.23.2.041.

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Ahn, Hee Ran, Hyung-Deok Shin, and Taeyoung Chung. "The Determinants of the Use of Calligraphy in the Movie Poster." Journal of the Korea Contents Association 14, no. 6 (June 28, 2014): 63–72. http://dx.doi.org/10.5392/jkca.2014.14.06.063.

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Naan Shin and 신진원. "Inter-personal/actional Function and Its Changes in Movie Poster Translations." Journal of Translation Studies 18, no. 2 (June 2017): 97–126. http://dx.doi.org/10.15749/jts.2017.18.2.004.

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Terres, Mariana Lima, Marília Camponogara Torres, and Viviane Maria Heberle. "THE VISUAL REPRESENTATION OF MATURE WOMEN ON THE POSTERS OF THE NETFLIX SERIES “GRACE AND FRANKIE”." Trabalhos em Linguística Aplicada 59, no. 3 (September 2020): 2309–29. http://dx.doi.org/10.1590/01031813916721620210125.

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ABSTRACT This article aims at presenting a multimodal analysis of movie posters concerning the two female leading characters of the Netflix series Grace and Frankie published in their official Facebook page. Specifically, we analyze five posters showing both characters, one from each broadcasted season until 2019 in terms of their visual content based on the Grammar of Visual Design (GVD) (KRESS & VAN LEEUWEN, 1996, 2006), with support from studies concerning women in the media as the theoretical framework. Results indicate that the visual meanings in each poster represent the two characters adequately regarding the key developments of each season, showing their change of conduct and attitude, particularly Grace, over the series. The findings of the analysis here undertaken can hopefully contribute to a critical investigation of social identities in different media and to on-going discussions concerning social semiotics and multimodality in relation to contemporary social practices.

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Kim, Se Jin, In Sook Choi, and Sung Min Seok. "Comparative Analysis of Movie Poster Colors According to Genre - On thriller/mystery, comedy & melo/romance movies(2010~2015) -." Journal of The Korean Society of Illustration Research 53 (December 30, 2017): 33–42. http://dx.doi.org/10.37379/jksir.2017.50.53.4.

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Kim, Se Jin, In Sook Choi, and Sung Min Seok. "Comparative Analysis of Movie Poster Colors According to Genre - On thriller/mystery, comedy & melo/romance movies(2010~2015) -." Journal of The Korean Society of Illustration Research 53 (December 30, 2017): 33–42. http://dx.doi.org/10.37379/jksir.2017.53.4.

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Sutanto, Shienny Megawati. "Dekonstruksi Representasi Perempuan pada Poster Film Pahlawan Super Produksi Hollywood." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 6, no. 1 (March 20, 2020): 1–17. http://dx.doi.org/10.33633/andharupa.v6i1.3234.

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AbstrakDekonstruksi representasi perempuan dalam film, sebagai bentuk ekspresi sosial budaya, merupakan sebuah upaya untuk membongkar tradisi yang didominasi nilai-nilai patriaki baik yang digambarkan secara terang-terangan maupun tersamar. Tujuan dari upaya tersebut untuk memperlihatkan bagaimana hegemoni dari nilai patriarki yang selalu menempatkan perempuan pada posisi marginal, dieksploitasi, dan diobjekkan oleh laki-laki. Beberapa perilaku perempuan dalam film direpresentasikan untuk dikonstruksikan secara normatif oleh masyarakat daripada perilaku lainnya. Representasi perempuan dalam film bergenre superhero baru mengalami perbaikan sejak akhir dekade lalu. Superhero perempuan mulai ditampilkan karakternya dan direpresentasikan sebagai individu yang mandiri berkepribadian kuat, mereka memiliki impian, cita-cita dan keinginan sendiri yang tidak berhubungan dengan menjadi objek afeksi karakter laki-laki. Cerita dan penokohan dalam film terefleksikan jelas pada visualisasi karakter dan materi promosi film berupa poster. Kata Kunci: dekonstruksi patriarki, gender, semiotik, film Hollywood, poster AbstractThe deconstruction of the representation of women in film, as a form of socio-cultural expression, is an attempt to dismantle traditions that are dominated by patriarchal values either explicitly or disguised. The purpose of these efforts is to show the hegemony of patriarchal value that always puts women in a marginal position, exploited and objectified by men. Some women's behaviors in the film represented to construed normatively by society instead of other attitudes. Representation of woman characters in the superhero film genre started to improve since the last decade. Female superheroes begin showing character and represented as independent individuals strong personalities, have dreams, have goals, have desires of their own that are unrelated to become the object of affection of a male character. Stories and characterizations in films are cleary reflected in the visualization of the characters and promotional material in the form of posters. Keywords: gender, Hollywood movie, patriarchy deconstruction, poster, semiotic

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Chosan Yang. "The Implicit Meaning of Movie Poster Montage Techniques for the Establishment of Brand Story." A Journal of Brand Design Association of Korea 11, no. 5 (December 2013): 27–42. http://dx.doi.org/10.18852/bdak.2013.11.5.27.

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Lunding, E. "The 1920s Silent Movie Poster Collection at Kungliga biblioteket, The National Library of Sweden." Journal of Design History 26, no. 3 (December 30, 2012): 321–30. http://dx.doi.org/10.1093/jdh/eps052.

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Shin, Naan. "Movie Poster Translation for the Immersion of Audiences through the Control of Informational Entropy." Journal of Translation Studies 19, no. 2 (June 2018): 175–202. http://dx.doi.org/10.15749/jts.2018.19.2.007.

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조성근 and 김정근. "Study on Determinants of Intention to Watch Movie Applying the Theory of Planned Behavior: Focused on Role of Presentation Format of Movie Poster." Asia-Pacific Journal of Business Venturing and Entrepreneurship 10, no. 6 (December 2015): 177–86. http://dx.doi.org/10.16972/apjbve.10.6.201512.177.

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이재영. "Reconceptualiztion of Movie Poster Parody to Investigate the Educational Benefits of Visual Culture Art Education." Journal of Research in Art Education 10, no. 1 (January 2009): 111–31. http://dx.doi.org/10.20977/kkosea.2009.10.1.111.

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Hyun, Seung-Hoon. "Audience’s Recognition depending on an Appeal Type of Movie Poster Advertising : Focused on Heavy Consumer." Joural of the Korea Entertainment Industry Association 6, no. 3 (September 30, 2012): 9. http://dx.doi.org/10.21184/jkeia.2012.09.6.3.9.

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عيسى, محمد حسين محمد. "سيميائية الصورة الفوتوغرافية في الملصق السينمائي = Semiology of the Photography Image in the Movie Poster." مجلة العمارة والفنون والعلوم الإنسانية N.A., no. 10 Part 2 (April 2018): 538–55. http://dx.doi.org/10.12816/0045747.

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Nath, Nanki, and Ravi Poovaiah. "Influence of Movie Poster Themes on the Color Trends used in the Shop Signs of Cities in India." International Journal of Visual Design 9, no. 3 (2015): 23–53. http://dx.doi.org/10.18848/2325-1581/cgp/v09i03/38767.

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김종원. "Research on the Current State of the Movie Poster and It's Impact on the Role of the Designer." Journal of Korea Design Forum ll, no. 29 (November 2010): 67–77. http://dx.doi.org/10.21326/ksdt.2010..29.006.

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yoonhyejean. "Semiotics Study of Female Image of the era of Postfeminism - Simultaneous Movie Poster in Korea and the U.S. -." Journal of Korea Design Forum ll, no. 44 (August 2014): 101–10. http://dx.doi.org/10.21326/ksdt.2014..44.009.

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SUN-YOUNG RO. "A Study on Calligraphy Expression Method as a Visual Design Elements- Focused on Korean Movie Poster Titles (2004 ~ 2006) -." Journal of Digital Design 7, no. 3 (July 2007): 271–82. http://dx.doi.org/10.17280/jdd.2007.7.3.026.

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이민영. "A study of the Visual communication of space expression in Calligraphy - Focused on the Poster design in Korean movie -." Journal of Digital Design 9, no. 2 (April 2009): 197–206. http://dx.doi.org/10.17280/jdd.2009.9.2.019.

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Utoyo, Arsa Widitiarsa. "Analisis Komunikasi Visual Pada Poster Sebagai Media Komunikasi Mendorong Jarak Sosial Di Jakarta Saat Epidemi Covid 19." LUGAS Jurnal Komunikasi 4, no. 1 (June 29, 2020): 35–42. http://dx.doi.org/10.31334/lugas.v4i1.939.

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Health campaigns about the covid 19 epidemic need to underlined as important actions to prevent viruses that cause fever, coughing, shortness of breath, chest pain and death. The health ministry and the local government need to move public awareness about healthy lifestyle. This research has analysed the key elements of health campaign posters in Jakarta. The Poster is still an active platform to tell data, schedules, display information, to persuade citizen in Jakarta. This study uses a qualitative approach, and uses case studies to visual analysis of local content and national poster design in Jakarta. The results show that local and national poster designs have different elements of the design, and it affects different posters. The results show that local and national poster designs have different colour, font, title, blank space, size and visual aids of the design results that affect different posters.

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Dehchenari, Maryam Abdali, Mardziah Hayati Abdullah, and Wong Bee Eng. "Critical and Semiotic Analysis of the Shift in Women’s Erotic and Romantic Roles in Action Movies and Movie Posters across Three Eras of Hollywood." International Journal for Innovation Education and Research 2, no. 6 (June 30, 2014): 25–39. http://dx.doi.org/10.31686/ijier.vol2.iss6.192.

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Adopting CDA and social semiotic analytical frameworks, the research investigated 30 action movies and accompanying posters from 1930 to 2012, with the following objectives: (1) to examine verbal and non-verbal elements in women’s representation, and (2) to trace significant changes in the romantic and erotic roles of female characters across three eras of Hollywood. Lovers showed their emotions in the most appealing and polite manner during the classical era, but they were more multifaceted during the last two eras. The new Hollywood era turned a blind eye to skin color by including indigenous lovers in the starring roles in movies and portraying them in movie posters. The post-classical movies contained the highest number of erotic roles. Women were shown in the most demeaning forms with nudity or seductive poses in the post-classical movie posters. Women used the most impolite speech in the post-classical movies. They were also addressed as sex objects by male leads in this era.

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Martinez, Gilles, Celia Mam-Lam-Fook, Patrica Garel, Marie-Odile Krebs, and Isabelle Amado. "Poster #S96 SOCIAL COGNITION ANOMALIES IN AUTISM AND SCHIZOPHRENIA: A DIRECT COMPARISON USING THE FRENCH VERSION OF MOVIE FOR THE ASSESSMENT OF SOCIAL COGNITION (MASC)." Schizophrenia Research 153 (April 2014): S123. http://dx.doi.org/10.1016/s0920-9964(14)70375-5.

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Matthew, Annu P. "Movie Posters." Frontiers: A Journal of Women Studies 21, no. 1/2 (2000): 152. http://dx.doi.org/10.2307/3347039.

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Tan, Linlin, Yu Hu, Haoyuan Li, and Xingyi Wang. "Images of our Writing." Writing across the University of Alberta 1, no. 1 (November 13, 2020): 39–43. http://dx.doi.org/10.29173/writingacrossuofa16.

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For this poster assignment, students were asked to read Gail Godwin’s piece “The Watcher at the Gates” and imagine not only what their watcher might look like but also the ways in which their watcher affects their academic work. Posters A and B, by Linlin Tan and Yu Hu, show how students imagine their Watchers – the critical voice inside their heads – who often interfere with their writing or their creation process. Posters C and D, by Haoyuan Li and Xingyi Wang, express students’ attitudes towards learning during the time of Covid-19. When the U of A made the decision to move the remainder of the Winter term 2020 to remote delivery, both instructors and students had very little time to adjust. This, in turn, created an opportunity for students to show in a one-page poster how they feel about learning online. Each poster expresses a different reaction to remote delivery.

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Mudayana, Ahmad Ahid, Marsiana Wiboeo, and Erni Gusnita. "PELATIHAN PERANCANGAN MEDIA PROMOSI KESEHATAN KEPADA SISWA SMA MUHAMMADIYAH DI WILAYAH KABUPATEN KEBUMEN." Jurnal Pemberdayaan: Publikasi Hasil Pengabdian Kepada Masyarakat 1, no. 2 (December 31, 2018): 481. http://dx.doi.org/10.12928/jp.v1i2.339.

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Media informasi dan teknologi menjadi komoditas utama dalam interaksi antar manusia, Media informasi dan teknologi ini tidak lepas dari dampak positif dan negatifnya, tergantung dari kesesuaian penggunaan masing-masing individu. Setiap orang bisa menyebarluaskan menyebarluaskan informasi yang akurat. Namun demikian, dalam menyebar luaskan informasi dengan media harus mempertimbangkan beberapa tahapan perancangan media, agar menghasilkan media yang efektif untuk kelompok sasaranRemaja adalah periode individu penuh rasa keingintahuan dalam segala hal. Permasalahan kesehatan yang dilalui individu remaja juga semakin kompleks. Keaktifan remaja dalam mengeksplorasi pengetahuan dan keterampilan ini sudah seharusnya menjadi peluang besar dalam memperdalam keterampilan remaja, terutama di era informasi dan media yang canggih sekarang ini. Remaja mempunyai daya tanggap yang cepat dalam mempelajari media, terutama media sosial dan digital. Perumusan pesan yang persuasif serta lay out media yang menarik dan seseuai dengan sasaran sangat dibutuhkan untuk mencapai media promosi kesehatan yang efektif. Pelaksanaan pengabdian menggunakan metode ceramah, diskusi dan skill development. Peningkatan pengetahuan peserta pelatihan tentang media promosi kesehatan dan peningkatan keterampilan dalam merancang media promosi kesehatan dapat dilihat dari antusiame peserta dalam mendengarkan pemaparan dan tanya jawab dan evaluasi proses dimana peserta dapat membuat pesan yang persuasif yang melalui media seperti poster, power point dan movie maker. Kata Kunci : Media, promosi kesehatan, Remaja

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Kadafi, Muammar, and Shofi Mahmudah Budi Utami. "Locality in Makoto Shinkai’s Kimi no Na wa: Negotiating Japanese Youth Identity." IZUMI 10, no. 1 (April 24, 2021): 21–31. http://dx.doi.org/10.14710/izumi.10.1.21-31.

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Japan becomes one of the countries that has been producing worldwide popular culture, namely through anime. Besides its popularity which attracts wider audiences, anime cultivates cultural content as it is also found in popular anime entitled “Kimi no Na wa”. Aside from its popular culture, Japan has undoubtedly been known for its ‘high culture’ products such as haiku or Zen, to which Japanese identity is attached. Then, the content of Japanese locality performed in the anime highlights some crucial issues related to Japanese identity, including the problematic relationship between traditionality and modernity, generations, and genders. Thus, the local content in the anime is interesting to scrutinize how traditional values are depicted and negotiated concerning Japanese identity. Since this study is descriptive-qualitative research, it answers the problem by describing the phenomenon and employing the interpretative method by Hall’s concept of identity. The selected data related to locality and identity obtained from the movie and poster are grouped and approached by Hall’s semiotic representation to see the relation to its significations. Finally, this brings out the interpretation of the data indicating that the anime portrays the ‘return’ to local culture. It is referred to as ‘nihonjinron’, which is particularly emphasized in youth life. Through this film, the identity is negotiated. The characters (Taki and Mitsuha) perform post-modern subjects; a case in point accepts the changes as they develop their identity in the current era.

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Roy, Debopriyo, Hirotaka Kosai, and Kazuma Takai. "The Pre-Production Plans on Designing a Promotional Video for Project-based Language Learning: A Case Study with Smart Toilets." SHS Web of Conferences 102 (2021): 02009. http://dx.doi.org/10.1051/shsconf/202110202009.

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This pilot project undertook an effort to understand how the pre-production plans on designing a promotional video in a project-based language learning classroom could be unveiled with undergraduate EFL computer science junior-level students. The central idea of the project was to explore the efficacy of digital storytelling as a method for developing professional communication skills in English. The specific case study chosen for the project was on intelligent toilets, and the pre-production movie design activities as assignments were designed in the syllabus as a community outreach effort in trying to promote awareness about intelligent toilets as a commercial product, and the necessity and benefits of intelligent toilets for consumers who might not be aware of it’s reach. Assignments such as designing storyline and screenplay, print and video poster design, visual storyline with concept mapping, storyboarding and conference presentation design and delivery not only focused on understanding how students handle different design and analysis software, and technical documentation in a group setting, but also the extent to which they could successfully work with their team collaboratively, and in the process improve professional communication. The project could not explicitly and objectively measure the learning outcomes for professional communication, but it helped us explore the extent to which the group assignments requiring substantial group communication and coordination could be worked through successfully, and students’ self-reported impression about the course materials, in general, and the working dynamics of the group. It’s an established fact that successful group communication and coordination, and such group-based technical communication activities require multiple interactions, iterations and repeated and prolonged exposure. However, within the limited scope of this pilot project, the researchers could identify moderately successful efforts being made both for the assignments and in terms of the team effort.

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Roza, Yelmi, and Ayumi Ayumi. "Pragmatics Analysis of Presupposition as Found in The Tagline of Horror Movie Posters." Vivid: Journal of Language and Literature 9, no. 2 (December 9, 2020): 98. http://dx.doi.org/10.25077/vj.9.2.98-104.2020.

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This research is about pragmatics analysis of presupposition as found in the tagline of horror movie posters. This research aimed to discover presupposition triggers and type of presupposition in the tagline of horror movie posters. In this research, the data were collected by downloading 14 taglines in horror movie posters. Then, the data downloaded were divided according to the presupposition triggers and the types of presuppositions. The data were analyzed using two theories, presupposition triggers by Kartunnen (1973) and Yule’s presupposition types (1996). The result of the analysis shows an argument and a table. The results show that from 42 presupposition triggers found in the tagline of horror movie posters, definite descriptions are the most dominant presupposition triggers. Other presupposition triggers are the change of state verbs, factive verb, and counterfactual conditional. Meanwhile, out of 6 types of presuppositions, there are only four types of presuppositions found in the tagline of horror movie posters: existential presupposition, lexical presupposition, factive presupposition, and counterfactual presupposition.

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