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Journal articles on the topic 'Posters – history'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Safonova, Nataliya V. "Orientalism of Soviet Posters." Oriental Courier, no. 4 (2022): 216. http://dx.doi.org/10.18254/s268684310023834-5.

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The history of a rich poster’s tradition in the USSR is well studied. Despite the integrity of the Soviet poster genre, the Union’s regions had its own stylistic and thematic features. Moreover, there was a certain set of features and symbols typical for the depiction of Eastern regions’ inhabitants, which were used when referring to a particular republic on propaganda posters and posters dedicated to the “friendship of peoples”. The subject of this article, however, will not be the specifics of Soviet East’s depictions on posters intended for the citizens of our country, but the analysis of i

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Okubo, Itsuo. "History of posters in Japan and the present state of their documentation." Art Libraries Journal 11, no. 4 (1986): 14–18. http://dx.doi.org/10.1017/s0307472200004879.

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In recent times Japanese posters have increasingly been appreciated all over the world. Their history is traced from the Edo period (the 18th and 19th centuries) in relation to Japan’s economic and commercial development. Only a few museums and libraries in Japan have established poster collections; these collect posters either as ‘art objects’ or as examples of graphic design. Methods of acquiring, arranging, and accommodating posters are described.

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Gao, Meihui, Xinyin Xie, and Zhian Zhang. "The Reacher on the Functions of Chinese Ink Elements in Movie Posters of The Golden Era." Communications in Humanities Research 9, no. 1 (2023): 231–37. http://dx.doi.org/10.54254/2753-7064/9/20231189.

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Chinese components have distilled the ancient cultural soul of the Chinese nation, whose culture has a lengthy history. The Golden Eras movie poster makes extensive use of Chinese design themes. The movie poster skillfully mixes traditional Chinese aesthetic themes with poster design to create poster works with national cultural meanings. Movie posters often contain ink-based elements. One of Chinese cultures most significant artistic genres, ink painting has a lengthy history and numerous symbolic meanings. The ink component gives the poster design a distinctively oriental aesthetic and an ar

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Ciotola, Nicholas P. "Alonzo Earl Foringer’s Greatest Mother in the World: The New Jersey Roots of the Most Famous Poster of World War I." New Jersey Studies: An Interdisciplinary Journal 3, no. 2 (2017): 215. http://dx.doi.org/10.14713/njs.v3i2.88.

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Despite renewed interest in the illustrated posters of World War I brought about by the commemoration of the war’s centennial, few extant works in either the academic or public history sectors offer comprehensive explorations of individual posters. This article provides a microhistory of The Greatest Mother in the World (1918), an impactful lithographic poster designed by New Jersey muralist Alonzo Earl Foringer and inspired by a slogan from a Princeton graduate turned advertising executive named Courtland Smith. Printed and distributed in the millions, Foringer’s poster reached a level of mas

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YALUR, Refik, and Emine YALUR. "Imaginary Ambigram Effect in Poster Design." Online Journal of Art and Design 13, no. 1 (2025): 118–29. https://doi.org/10.30935/ojad/2513008.

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Posters are one of the most important communication tools developed in the twentieth century. Over time, various styles, techniques, and technologies have been incorporated in the preparation and presentation processes of posters, where the search for innovation for impressive designs is continuous. Imaginative illustrations appear as the first evidence of the existence of art and even of life in history. Today, images on posters are used quite widely. In this study, the use and effect of images designed as ambigrams in poster designs were examined. Imaginary ambigrams emerge when images gain

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Miao, Ping, and Husaini Yaacob. "Research on Urban Poster Design Methods in China—Take Taizhou Poster Design as an Example." Scientific and Social Research 5, no. 9 (2023): 36–42. http://dx.doi.org/10.26689/ssr.v5i9.5318.

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Urban cultural posters serve as vital tools for promoting city culture and the tourism industry, fulfilling the significant mission of enriching the visual aesthetics of citizens, and disseminating urban culture. Governments utilize various means, such as propagating policy guidelines, promoting the cultural and tourism industry, conserving cultural heritage and humanistic history, showcasing academic and cultural events, and propagating the mainstream values, to harness the potential of urban cultural posters as windows that exhibit the city’s cultural heritage and charm, thus providing both

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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 (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 p

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Jacobsen, Knut. "The Child Manifestation of Śiva in Contemporary Hindu Popular Prints." Numen 51, no. 3 (2004): 237–64. http://dx.doi.org/10.1163/1568527041945508.

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AbstractGod posters have become one of the most visible aspects of popular religious culture in South Asia. In this article I argue that the God poster industry has created opportunities for iconographic innovations, but that the God posters nevertheless build on traditional sacred narratives and conceptions of the Hindu gods found especially in the Hindu epics and the Purānas.. Even if the iconographic representation of the child manifestations of Śiva is something new, these God posters rely on the presence of the child manifestations of Śiva in the sacred narratives of the Hindu tradition.

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Godin, V. N., and Т. C. H. Cole. "The “Plant Phylogeny Posters” (PPP) – Useful Tools for Scientific Research and Education." Ботанический журнал 108, no. 4 (2023): 392–94. http://dx.doi.org/10.31857/s0006813623040038.

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Wall charts and posters depicting plant structure and evolutionary relationships as phylogenetic trees have been important teaching tools for many decades. With the development of digital technologies, new approaches to the traditional concept have become possible. The article briefly discusses the history, development and significance of the “Plant Phylogeny Posters” project. This project is a joint work of a growing team of more than 200 specialists from more than 50 nations from all around the world. The portfolio currently consists of nearly 600 posters in 54 poster titles and in 45 langua

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Moss, Anne Eakin, Niloofar Haeri, and Narges Bajoghli. "Legacies of Protest Art in Iran." Public Culture 36, no. 2 (2024): 153–79. http://dx.doi.org/10.1215/08992363-11158958.

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Abstract This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant-garde. The auth

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Kim, Seorim, and Kyoo Yun Cho. "Satire and Propaganda of Soviet Posters: The Artistic Representation of Laughter and Disgust in Deni’s Works." Institute for Russian and Altaic Studies Chungbuk University 25 (August 31, 2022): 99–128. http://dx.doi.org/10.24958/rh.2022.25.99.

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First appeared for commercial purposes in the early 20th century, Russian posters developed into independent art through the First World War and the Bolshevik Revolution. The early 20th century was the most productive period for Russian Art, as various experiments were conducted in the coexistence and competition of various painting trends. Amid the turbulent conditions leading to the revolution, civil war, and establishment of the Soviet Union, the integration of various artists’ experiments with the revolution is reflected in the form and content of posters produced at the time. Viktor Deni,

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Mikhalkina, Ekaterina M. "The Historical and Source-Based Aspects of Studying Early Russian Silent Film Posters of 1908—1919." Observatory of Culture 19, no. 2 (2022): 172–81. http://dx.doi.org/10.25281/2072-3156-2022-19-2-172-181.

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The Russian State Library holds one of the largest collections of Russian posters. Film posters from the time before the cinematography nationalization in 1919 are presented there in more than 250 sheets. Most of them advertise Russian films, more than a third — foreign ones, 25 sheets — documentary cinematography and newsreels of the Russian branch of the French firm “Pathé Brothers”.Recently, there has been a growing researchers’ interest in this period. Active popularization is being carried out by holding exhibitions and publishing catalogs of the largest collections, this phenomenon is di

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Udris, Iryna, and Natalia Udris-Borodavko. "Evolution of Artistic Styles of Commercial Advertising Posters in the Context of the History of Graphic Design." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 230–39. https://doi.org/10.31866/2410-1176.42.2020.207661.

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The purpose of the article is to understand the synthesis and cautious term system of specific artistic features of an advertising poster at every stage of the stylistic evolution for the effective practice of modern graphic designers in creating a variety of advertising images by stylisation. The research methodology is based on the use of systematic art review, stylistic, and comparative analysis of artistic advertising products of the 1870s‑2010s to determine the evolution of artistic styles of commercial advertising posters. The scientific novelty of the study is to conduct a comprehensive

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PİLİCİ, Elanur. "POSTMODERN REKLAM AFİŞİ TASARIMI." IEDSR Association 6, no. 11 (2021): 329–42. http://dx.doi.org/10.46872/pj.245.

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The history of the art of graphic design and posters goes back to cave drawings during the Stone Age. Graphic design and posters are based on social needs and change in different stages of social development. They are now enjoying one of the apexes of their development. The art of graphic and poster design which developed and evolved in the historical and social development process, has taken on new dimensions during the transition from the modern to the postmodern period in accordance with the needs of our society of consumption and by using the technical/technological tools and methods withi

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Lusek, Joanna. "Plakat w służbie medycyny. Zdrowie publiczne jako temat plakatów z kolekcji Muzeum Górnośląskiego w Bytomiu (lata 50.–80. XX wieku)." Medycyna Nowożytna 29, Suplement (2023): 37–81. http://dx.doi.org/10.4467/12311960mn.23.022.18746.

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Poster in the service of medicine. Public health as a subject of posters from the collection of the Upper Silesian Museum in Bytom (1950s–1980s) The poster is a combination of graphic elements and a text layer that is informative. Its development in the 1940s was influenced by the socio-political situation of the country, which was rebuilding itself from war damage. In the following decades, it was a narrative in line with the ideological foundations of the Eastern Bloc countries. Over time, the poster became a tool of conscious propaganda by the authorities. Social posters, including those de

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Rakov, Timofey N., and Alexander A. Fokin. "“EVERYBODY IS THINKING ABOUT NATURE TODAY”: THE SEARCH FOR AGENCY IN LATE SOVIET ENVIRONMENTAL POSTER." Ural Historical Journal 75, no. 2 (2022): 106–14. http://dx.doi.org/10.30759/1728-9718-2022-2(75)-106-114.

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The article analyzes late Soviet posters related to environmental issues and places them in the context of environmental history in the Soviet era. Analyzing the Soviet posters, we can distinguish three distinct stages: 1) nature as an object of human effort; 2) nature as an object in need of protection from individual pests; and 3) nature as a value and subject. This change did not occur by itself but reflected an evolution of the perception of ecology in Soviet society. A close examination of the dynamics of posters reveals that nature was gradually but increasingly endowed with its own agen

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Bobrovnikov, Vladimir. "Исламский дискурс визуальной пропаганды на советском Востоке между двумя мировыми войнами (1918 – 1940)". Islamology 7, № 2 (2017): 53. http://dx.doi.org/10.24848/islmlg.07.2.03.

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Visual propaganda played an enormous role in the history of the twentieth century. Unlike the propaganda of nineteenth century, it was aimed not only at educated classes in the imperial centres, but also at subaltern masses living in the colonies of great powers, including the vast territories in the east and south of the former Russian Empire. Posters created for (and with the assistance of) Muslims between the two world wars in the Soviet Orient (i.e., in the Volga region, Crimea, Urals, and Siberia, on the Caucasus and in the Central Asia) represent an enormous and still poorly studied laye

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18

Sumantri, Pulung, Surya Aymanda Nababan, Solihah Titin Sumanti, Yushar Tanjung, Fini Fajri Mulyani, and Jafalizan Md. Jali. "Effectiveness Of Use Of Interactive E-Poster History Learning Media In Increasing History Awareness." Jurnal Ilmu Pendidikan 30, no. 1 (2024): 40. http://dx.doi.org/10.17977/um048v30i1p40-47.

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Historical awareness is one of the historical thinking skills that students must have. Historical awareness is related to the identity of a nation related to the past. This research aims to determine the effectiveness of using interactive E-Poster media in increasing students' historical awareness. This research uses the Pretest-Posttest Control Group experimental method which consists of an experimental group and a control group. The sample used consisted of 50 class XII high school students selected using random sampling technique. The data instruments used are the results of pretests and po

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Kim, Monica, and Rossen Djagalov. "Restorative Posters." Radical History Review 2020, no. 137 (2020): 217–28. http://dx.doi.org/10.1215/01636545-8092897.

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Abstract Restorative Posters: Representing Justice Visually is an initiative by Project NIA, a Chicago-based organization founded and directed by Mariame Kaba. The project features a series of downloadable posters mostly created by Chicago-based artists and focuses on the potential of art to generate questions and foster dialogue on restorative and transformative justice.

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Adi, Sigit Purnomo. "ANALISIS TEKNIK CETAK TINGGI SEBAGAI MEDIA DUPLIKASI PADA POSTER KRITIK LINGKUNGAN." TEXTURE : Art and Culture Journal 4, no. 2 (2021): 87–92. http://dx.doi.org/10.33153/texture.v4i2.4222.

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In this research the author emphasizes how relief print techniques as a medium for duplication in propaganda poster works are able to present artistic beauty that has distinctive characteristics and is also able to provide awareness to those who see it. The reason the writer is interested in relief print techniques as a means of duplicating propaganda posters is because if you look at the history of relief print, its role wasvery important during the struggle, especially as a medium for duplicating posters of the struggle. Until now, relief print has also been used as a media for duplicating e

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Ruthven, Sarah. "Reflection: Ohara’s ‘Flow Line’." Visual Inquiry 11, no. 1 (2022): 59–61. http://dx.doi.org/10.1386/vi_00070_1.

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This reflection explores the connection between art and the lived experience offering insight into the topic of phenomenology and visual culture through the work ‘Flow Line’ by Daijiro Ohara. Popular posters like this one, designed for the Tokyo 2020 Olympic and Paralympic Games can support learning in foundational art history courses. The poster design by Ohara is explored visually through formal analysis and thematically to highlight the way in which interpretation of the poster can be constructed using an important postmodern methodology.

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Agranovsky, N. S. "The Leonardo da Vinci Society’s “Exhibition of Posters and Placards” (1906): History, Context, Impact." Art Studies Journal, no. 2 (June 2024): 296–323. https://doi.org/10.51678/2073-316x-2024-2-296-323.

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In the article, the author reconstructs the exhibition that had considerable impact on the history of Russian poster graphics, but which is mostly forgotten in academic studies so far. Held at the end of a decade that saw three international exhibitions (1897–1900), it was not only the sole show of foreign posters in the Russian Empire in the 20th century, but also it summed up the modernist turn in the Russian school of poster art, confirming its newly gained self-reliance. As part of the Leonardo da Vinci Society’s ambitious agenda, the exhibition also documents contemporary literary and art

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Hopkinson, Natalie. "Fluorescent Flags: Black Power, Publicity, and Counternarratives in Go-Go Street Posters in the 1980s." Communication, Culture and Critique 13, no. 3 (2020): 275–94. http://dx.doi.org/10.1093/ccc/tcz058.

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Abstract This semiotic landscape analysis probes urban patterns of racial placement and displacement through an archive of music publicity posters. The music poster archive is a site to map the so-called “Chocolate City” of Washington, D.C., in the 1980s, explore its calendars, rhythms, textures, communication technology, history and movements of segregated black life. These posters advertising go-go music, the city's indigenous black popular music, asserted a territory of black economic, cultural and political power. They resisted the narrative of a sanitized “White City” designed for white t

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Mahaney, D. C. "Propaganda Posters." OAH Magazine of History 16, no. 3 (2002): 41–42. http://dx.doi.org/10.1093/maghis/16.3.41.

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Dewi, Nurul Kemala. "ANALISIS KEMAMPUAN MENDESAIN POSTER BERTEMA SENI BUDAYA NTB PADA MAHASISWA CALON GURU SEKOLAH DASAR." Gorga : Jurnal Seni Rupa 12, no. 1 (2023): 84. http://dx.doi.org/10.24114/gr.v12i1.43654.

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The lack of adequate poster work for aspiring elementary school teachers served as the inspiration for this study. The placement of language and images pays little consideration to compositional theory, and the outcomes of the poster design efforts are still inadequate. While making billboards and posters is a subject in Class VI SD Cultural Arts and Crafts, additional research is required to delve deeper into it and find out how the quality of student poster work currently is. This study aims to describe the ability to design posters with the Art and Culture theme of NTB for elementary school

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Feng, Jiahui. "The Expression and Application of Nanniwan Spirit in Chinese Propaganda Posters." BCP Social Sciences & Humanities 15 (March 13, 2022): 1–10. http://dx.doi.org/10.54691/bcpssh.v15i.355.

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Showing the significance of Nanniwan spirit through red posters can be more powerful for the great rejuvenation of the Chinese nation. This paper sorts out the history and characteristics of the red posters, selects Huawei as the main body of the modern expression of the Nanniwan spirit, and makes multi-level design and interpretation on how to embody the Nanniwan spirit in the red posters.

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Cong, Li, and Li Xuan. "The female images in propaganda posters in 17 years of the New China." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-2 (2022): 224–37. http://dx.doi.org/10.31166/voprosyistorii202212statyi70.

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During the 17-year period of the New China existence, propaganda posters were relied upon by the authorities and had a broad social influence on social media. During this period, a large number of female images was in propaganda posters. The purpose of this article is to combine research methods of social history and image analysis to classify female images in propaganda posters in the New China, and to analyze their visual language, information load, and social functions.

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Yang, Chen. "Design and Concept of Hengshui Cultural Poster Product for "New Hengchuan"." Scientific Innovation in Asia 1, no. 1 (2023): 17–21. http://dx.doi.org/10.58567/sia01010003.

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As an emerging city with a long cultural history in Hebei Province, Hengshui is constantly deepening its efforts in promoting its urban image. This paper explores and classifies the regional culture of Hengshui, and designs a series of posters based on its long history and distinctive regional characteristics. This poster design not only expresses the cultural heritage contained within the city, but also reflects the emerging regional characteristics of modern Hengshui. It comprehensively interprets and reconstructs Hengshui education, regional famous figures, Hengshui landmark buildings, and

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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 qu

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Lara Ruiz-Granados, Pilar. "The posters, their history and their language." Questiones Publicitarias, no. 5 (July 31, 1996): 132. http://dx.doi.org/10.5565/rev/qp.274.

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Hakanen, Ernest A., and Alison Novak. "Mather work incentive posters and the rhetoric of scientific management in the 1920s." Journal of Visual Political Communication 6, no. 1 (2020): 9–35. http://dx.doi.org/10.1386/jvpc_00002_1.

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The Charles Mather work incentive posters of the 1920s promoted the philosophy of scientific management that just ten years earlier the US Congress deemed reductionist and dehumanizing. In a time where the rise of middle management and the growing faith in the powers of capitalism were omnipresent, the posters and rhetoric of scientific management made great sense to those in control of big business. Mather’s 78 work posters hung in offices and factories all over the country, and describe what it meant to be efficient, productive and a good member of business society in the 1920s. As a medium,

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Ohl, Jessy. "Seeing World War I and Poster Propaganda with Fresh Eyes." Public Historian 42, no. 3 (2020): 114–28. http://dx.doi.org/10.1525/tph.2020.42.3.114.

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Persuasive Weapons: WWI Propaganda Posters is an ongoing digital exhibition and collection hosted by the University of Alabama to commemorate the centennial anniversary of the Armistice signing. This collaborative project distinguishes itself from other publicly available collections by providing detailed compositional interpretations for each poster that situate the images historically and locate salient persuasive strategies. The following Report from the Field chronicles the project’s development, outlines the novel methodological approach, and presents select findings to elevate WWI in pub

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Kłagisz, Mateusz M. P. "Pro-Regime Posters in the Democratic Republic of Afghanistan." Iran and the Caucasus 25, no. 2 (2021): 208–24. http://dx.doi.org/10.1163/1573384x-20210209.

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The article discusses three Afghan posters as a source of information on the political system between 1978 and 1992 and its internal dynamics. The posters are an integral part of Afghan visual culture and at the same time they are an inseparable element of the broader propaganda culture developed by communist parties. Consequently, such categories as unity, utility and wishful thinking characteristic for the socialist realist art and propaganda put the posters in the broadly understood phenomenon of Orwellian newspeak. To discuss their Orwellian dimension theoretical tools developed by Umberto

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MUDALIGE, Olena. "THE HISTORY OF THE ECOLOGICAL POSTER MUSEUM CREATION AT THE KHARKIV STATE ACADEMY OF DESIGN AND ARTS." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 1 (2023): 27–50. http://dx.doi.org/10.33625/hudprom2023.01.027.

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The article attempts to analyze in a chronological dimension (1991–2021) the history of creation and functioning of the International Triennial of Ecological Poster “4th Block”, the largest artistic and environmental action in Ukraine, aimed at drawing attention to environmental problems in the world and the spiritual and moral foundations of life. The features of each triennial are consistently reflected, the changes in time of the pictorial component of the modern poster as they move away from Chernobyl tragedy are traced, its artistic and communicative features and innovations used by desig

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Janssens, Leon. "Erotische censuur : De seksuele revolutie in gecensureerde pornografische filmposters in België (1971-1980)." Tijdschrift voor geschiedenis 133, no. 2 (2020): 347–66. http://dx.doi.org/10.5117/tvgesch2020.2.009.jans.

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Abstract Erotic Censorship: The Second Sexual Revolution in Censorship of Pornographic Movie Posters in Belgium (1970-1980)This article studies the relationship between the second sexual revolution, pornography, and censorship by analyzing censorship of pornographic film posters in Belgium between 1970 and 1980. The prosecution of offences against decency declined in the Belgian courts throughout the seventies, which inspired changes in censorship practices. However, censorship was not only a restrictive power, allowing or prohibiting certain practices, but also led to the production of new co

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Erdal, Gültekin. "Women Of Jules Chéret (Chérette)." International Journal of Art Design and Education 3, no. 3 (2022): 11–17. https://doi.org/10.5281/zenodo.7421948.

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The French art of the late 19th century is one of the most studied subjects, but posters, one of the most prominent phenomena in the visual culture of the 1890s, have remained on the fringes of art history and have not been studied much. The creators of the poster, such as Henri de Toulouse-Lautrec (1864–1901) and Jules Chéret (1836–1932), argued that they represented opposing views of modernity and that these evoked different responses to industrialization, commodification, mass culture, and urban life. The most prominent representative of this is Jules Chéret, who i

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Iskin, Ruth. "Father Time, Speed, and the Temporality of Posters Around 1900." KronoScope 3, no. 1 (2003): 27–50. http://dx.doi.org/10.1163/156852403322145379.

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AbstractThe essay proposes that advertising posters around 1900 construct a popular-culture iconography of a modern temporality associated with new technologies. In addition, it proposes, posters themselves embody a new temporality as a medium. The essay analyses how posters portray time by focusing on several images, some of which depict an updated allegorical figure of Father Time in order to advertise a racing automobile or precision watch.The essay also addresses the temporality of posters as a medium by investigating their conditions of viewing and the role of their advertising function.

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Welch, Michael. "Signs of trouble: Semiotics, streetscapes, and the Republican struggle in the North of Ireland." Crime, Media, Culture: An International Journal 16, no. 1 (2019): 7–32. http://dx.doi.org/10.1177/1741659018822939.

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Just as the political divisions in the North of Ireland are subject to ongoing critique, so too is its culture that maintains what scholars recognize as contested heritage. Ethno-political symbols, such as flags and murals, not only point to certain identities but also mark their territory. Whereas those emblems have been the subject of extensive research, political posters remain an overlooked source of rich iconography. This article fills that void by examining a collection of posters on display at the Irish Republican History Museum in West Belfast. The posters, in their original incarnatio

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Mkhitarova, Mariam. "Gender characteristics of advertising posters." International Journal of Social Sciences 3, no. 1 (2023): 44–75. http://dx.doi.org/10.55367/jdkq9809.

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It implies the essence of advertising and the way of development, which means its formation as a means of mass communication and becoming a companion of public life. However, in the process, the advertising industry has repeatedly demonstrated that it can absorb societal stereotypes. Still, it is its responsibility not to make any displayed information harmful to any social group. Consequently, the advertisements reflect the tendencies characteristic of this or that epoch; thus, the audience will strengthen them even more. The study of processes once again reveals the strength of the impact of

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Gorobets, Svetlana V., and Maria Yu ,. Gorobets. "Alexander Ziloti in Posters: The Story of the Musician’s Life and Work." Общество: философия, история, культура, no. 5 (May 21, 2025): 248–53. https://doi.org/10.24158/fik.2025.5.30.

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The article examines the poster as an obligatory element of upcoming performances or concerts, serving as a type of document and, until recently, the only source of informing the public about cultural events. The object of the authors’ research is the concert posters of the pianist Alexander Ilyich Ziloti used both in Russia and abroad. It is argued that it is possible to trace the musician’s artistic life by the data indicated in the playbill. The authors characterize the programs of the concerts, the names of the performers who participated in them, describe the historical halls in which the

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Korzhova, Inessa N. "Forms of actualization of the historical past on posters and in poems of the Great Patriotic War." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 81 (2023): 225–40. http://dx.doi.org/10.17223/19986645/81/12.

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The article is dedicated to comprehending the variants of actualization of the historical past in poetry and on posters of 1941–1945. Fostering respect for the past became one of the goals of the pre-war years’ propaganda. But art revealed stronger forms of time connection than the mere knowledge of history by contemporaries. The aim of the article is to establish similar types of representation of the past in poetry and poster art. According to Benveniste’s “principle of nonredundancy”, the codes of the arts are mutually untranslatable, so the objectives of the study include establishing the

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Jarvis, Louise, and Joe Cain. "Posters and Oral Presentations in Undergraduate History of Science." Discourse: Learning and Teaching in Philosophical and Religious Studies 2, no. 2 (2003): 50–72. http://dx.doi.org/10.5840/discourse20032225.

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Lin, Nan, and Saiful Akram Bin Che Cob. "From Edo Period to Present: Tracing the Development of Japanese Graphic Design in Posters." Herança 7, no. 2 (2024): 82–95. http://dx.doi.org/10.52152/heranca.v7i2.822.

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Over the course of centuries, Japanese poster design has evolved to reflect the country's cultural, social, and technological advancements. However, a comprehensive study that traces the evolution of Japanese poster design from the Edo Period to the present, from an interdisciplinary perspective, is required. The purpose of this study was to look into the technological, sociopolitical, cultural, historical, and artistic aspects of Japanese poster design. The study used interdisciplinary methodologies to detect changes in design styles, thematic issues, and visual communication tactics througho

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Nur Rohman, Ana Bela Safitri, and Sujatmiko Sujatmiko. "Improving Students' Vocabulary Mastery and Listening Skills Using Bilingual Posters Translated Lyrics." JEdu: Journal of English Education 4, no. 3 (2025): 168–76. https://doi.org/10.30998/jedu.v4i3.11192.

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This research aims to: 1) To know the translation techniques used in translating the songs "Count on Me" and "History". 2) To describe the bilingual poster media to improve students' vocabulary mastery and listening skills. This research type is classroom action research. Data collection used observation, interviews, tests, and documentation. Data analysis uses Miles and Huberman's theory to analyze interview data. Test data can be analyzed using calculations. This research was conducted at SMPN 2 Sewon. The result of the song translation technique is that the translation technique that is oft

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Kim, Hyeyoung. "An Analysis of Visual Changes of Domestic Posters of American Animation Films." Korean Society of Culture and Convergence 45, no. 11 (2023): 919–29. http://dx.doi.org/10.33645/cnc.2023.11.45.11.919.

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The aim of this paper is to analyze the characteristics of visual changes in domestic posters of animation films. We compared the original posters and the domestic posters of American animations released in Korea in the 2020s and analyzed the visual changes in domestic posters in terms of images, model numbers, and layouts. First, most of the domestic main posters had different images from the original posters, but both had mostly character + scene types of images. Second, both had mostly more than four models, but the proportion of one-person models was lower in domestic posters than in origi

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Powell, Patricia, and Joseph Wong. "Propaganda Posters from the Chinese Cultural Revolution." Historian 59, no. 4 (1997): 777–94. http://dx.doi.org/10.1111/j.1540-6563.1997.tb01375.x.

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Stein, Claudia, and Roger Cooter. "Visual Objects and Universal Meanings: AIDS Posters and the Politics of Globalisation and History." Medical History 55, no. 1 (2011): 85–108. http://dx.doi.org/10.1017/s0025727300006062.

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Drawing on recent visual and spatial turns in history writing, this paper considers AIDS posters from the perspective of their museum ‘afterlife’ as collected material objects. Museum spaces serve changing political and epistemological projects, and the visual objects they house are not immune from them. A recent globally themed exhibition of AIDS posters at an arts and crafts museum in Hamburg is cited in illustration. The exhibition also serves to draw attention to institutional continuities in collecting agendas. Revealed, contrary to postmodernist expectations, is how today’s application o

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Windari, Fenny, Muhammad Ikhwal, Sri Wahyuni, Rizaldy Putra, and Rosramadhana Rosramadhana. "Pendampingan Anak-anak Mengenal Sejarah Lokal Berbasis Digital Folklore di Kecamatan Medan Barat." JATI EMAS (Jurnal Aplikasi Teknik dan Pengabdian Masyarakat) 3, no. 2 (2019): 222. http://dx.doi.org/10.36339/je.v3i2.237.

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The child – support activity in an introduction to local history-based folklore aims to increase the interest of children in the race-based reading park, to increase children’s knowledge of local history or folklore, and to instill moral values in the story. The method of execution used in such devoted activities is the preparation, application, and application stage. The result of such devotion is the 5 M ( Reading, Chanting, Watching, Writing and Reprogramming) of the cause for learning about the folklore in northern Sumatra. Further increase children’s creativity by training them to create

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Ramos, Igor, and Helena Barbosa. "Para além do filme: a informação presente no design dos cartazes de cinema português (1920-1979) Beyond the film: the information present in the design of Portuguese film posters (1920-1979)." InfoDesign - Revista Brasileira de Design da Informação 16, no. 2 (2019): 309–29. http://dx.doi.org/10.51358/id.v16i2.727.

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Que outros discursos e informações podem ser extraídos de um cartaz de cinema, se este for observado para além dos elementos gráficos que tradicionalmente definem o seu design? Este artigo procura analisar uma amostra de 160 cartazes de cinema português, entre 1920 e 1979, circunscrevendo-se a outros elementos visuais que não a imagética e tipografia que apresentam o filme que se pretende anunciar. Trata-se de um olhar direcionado para as margens dos cartazes, onde habitualmente se inscreviam estes conteúdos, numa layer secundária ou terciária de informação, muitas vezes ignorada, onde se enco

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Tarasov, V. "“Documentalism” of the “Long 1980s” Poster as a Visual Historical Source: “Artistic” and “Non‑Artistic” Forms." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (2020): 99–108. http://dx.doi.org/10.33625/visnik2020.03.099.

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The article studies posters of the late 1980s – early 1990s (the so‑called period of the “long 1980s”) as a visual historical source. In analyzing the problem, the author points out that the illustrative model dominates among the visual representation models of the history at that time. In the historical and cultural focus, it is a parallel story that has no narrative tasks of its own and acts as a visual “animator” of the text. Its characteristic features are low representativeness and “closeness” of visual ideas. As a consequence, the text replaces the meaning and significance of the poster’

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