The movie industry in India has a distinctive effect on their audience, which is rather unique when compared to the various influencing kinds of messages that are portrayed through different forms of media. Perceptual immediacy is often viewed in the audiences while they watch a movie or even when a spark is formed in their psyche just by the visuals that they see on a movie poster. And so, while creating a movie or even constructing a movie poster, the ability to make it relevant to the viewers is carefully considered by the creators of this medium. This paper aims to study whether Malayalam movie posters visually construct meaning and whether they can influence the financial success of a film. The sample for this research was three Malayalam movie posters: Pulimurugan, Kayamkulam Kochunni, and Lucifer. The methodological approach for this study was conducted by using Kress and van Leeuwen's visual social semiotic method.
{"title":"Regional Indian Movies in Rs.100 Crore Club","authors":"Lydia G. Jose","doi":"10.4018/ijsvr.319724","DOIUrl":"https://doi.org/10.4018/ijsvr.319724","url":null,"abstract":"The movie industry in India has a distinctive effect on their audience, which is rather unique when compared to the various influencing kinds of messages that are portrayed through different forms of media. Perceptual immediacy is often viewed in the audiences while they watch a movie or even when a spark is formed in their psyche just by the visuals that they see on a movie poster. And so, while creating a movie or even constructing a movie poster, the ability to make it relevant to the viewers is carefully considered by the creators of this medium. This paper aims to study whether Malayalam movie posters visually construct meaning and whether they can influence the financial success of a film. The sample for this research was three Malayalam movie posters: Pulimurugan, Kayamkulam Kochunni, and Lucifer. The methodological approach for this study was conducted by using Kress and van Leeuwen's visual social semiotic method.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114263140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper proposes an analysis of a sample of Greek cultural organizations' visual messages as polysemiotic, multimodal signs, in an attempt to examine the role of such messages for the communication strategy of cultural organizations. The sample constitutes visual messages from three Greek cultural organizations, each representing a different type of performing art. These organizations are Greek National Theatre, the National Opera of Greece, and the International Short Film Festival in Drama. All messages included in the study are messages promoting specific cultural events and, simultaneously, the organization as a brand. Through morphological and semiotic analysis of the respective messages of the selected organizations, a series of issues are going to be examined, including the way cultural organizations' messages are composed and projected, their relevance to the specific organization, and the impact of messages both in promoting a cultural event and the organization's brand, as well as maintaining and developing an organization's audience.
{"title":"Performing Arts Organizations' Communication Through Posters in Greece","authors":"Maria Koloka, E. Papadaki","doi":"10.4018/ijsvr.319802","DOIUrl":"https://doi.org/10.4018/ijsvr.319802","url":null,"abstract":"This paper proposes an analysis of a sample of Greek cultural organizations' visual messages as polysemiotic, multimodal signs, in an attempt to examine the role of such messages for the communication strategy of cultural organizations. The sample constitutes visual messages from three Greek cultural organizations, each representing a different type of performing art. These organizations are Greek National Theatre, the National Opera of Greece, and the International Short Film Festival in Drama. All messages included in the study are messages promoting specific cultural events and, simultaneously, the organization as a brand. Through morphological and semiotic analysis of the respective messages of the selected organizations, a series of issues are going to be examined, including the way cultural organizations' messages are composed and projected, their relevance to the specific organization, and the impact of messages both in promoting a cultural event and the organization's brand, as well as maintaining and developing an organization's audience.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127343184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Is visual communication primarily contingent upon physical elements to be seen with the eye, or does visuality also extend into the imagination? Despite the progress of modernity since the Enlightenment, a different form of thinking exists that is predicated upon visual metaphors and mythic structures. Therefore, the purpose of this paper is to unfold the position of thinking visually to the realm of religious beliefs emanating from ancient oral cultures who often created connections of natural, rhetorical objects with the metaphysical through the mythic imagination. Throughout this paper, the author analyzes three ekphrastic texts concerning visions of God's glory at the Tabernacle, Jerusalem Temple, and in the person of Jesus within Judeo-Christian thought. This research will analyze such visual thinking through Biblical teachings that demonstrate various forms of ekphrasis (Grk. “speak out”) in which specific verbal descriptions represent interaction between physical and divine planes and thus contiguity.
{"title":"Visual Myths","authors":"G. Knight","doi":"10.4018/ijsvr.319723","DOIUrl":"https://doi.org/10.4018/ijsvr.319723","url":null,"abstract":"Is visual communication primarily contingent upon physical elements to be seen with the eye, or does visuality also extend into the imagination? Despite the progress of modernity since the Enlightenment, a different form of thinking exists that is predicated upon visual metaphors and mythic structures. Therefore, the purpose of this paper is to unfold the position of thinking visually to the realm of religious beliefs emanating from ancient oral cultures who often created connections of natural, rhetorical objects with the metaphysical through the mythic imagination. Throughout this paper, the author analyzes three ekphrastic texts concerning visions of God's glory at the Tabernacle, Jerusalem Temple, and in the person of Jesus within Judeo-Christian thought. This research will analyze such visual thinking through Biblical teachings that demonstrate various forms of ekphrasis (Grk. “speak out”) in which specific verbal descriptions represent interaction between physical and divine planes and thus contiguity.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124904107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.4018/ijsvr.2020010102
Hong-Chi Shiau
This study attempts to illustrate identity performance via the display of symbolic capital by Taiwanese gay men through photo-sharing experiences on Instagram. For Taiwanese gay men, photo-sharing experiences on Instagram have become a significant venue where they can interact with selected publics through performing various personae. This study has classified roles with various forms of cultural capital as well as clarifying how distinction is meticulously maneuvered among collapsed contexts. Through ethnographic interviews with 17 gay male college students from Taiwan and textual analysis of their correspondence though texting on Instagram, this study first contextualizes how the interactional processes engaged in on Instagram help constitute a collective identity pertaining to Taiwanese gay men on Instagram. The photo-sharing experiences are examined as an identity-making process involving the display of various symbolic capital, illuminating the calculated performance of taste and the collective past oppressed by the heteronormative society. The conclusion offers an alternative sociological intervention that goes beyond the notion of digital narcissism to help understand how the cultural capital on the presumption of photo-sharing experiences is invested.
{"title":"Networked Collective Symbolic Capital Revisited","authors":"Hong-Chi Shiau","doi":"10.4018/ijsvr.2020010102","DOIUrl":"https://doi.org/10.4018/ijsvr.2020010102","url":null,"abstract":"This study attempts to illustrate identity performance via the display of symbolic capital by Taiwanese gay men through photo-sharing experiences on Instagram. For Taiwanese gay men, photo-sharing experiences on Instagram have become a significant venue where they can interact with selected publics through performing various personae. This study has classified roles with various forms of cultural capital as well as clarifying how distinction is meticulously maneuvered among collapsed contexts. Through ethnographic interviews with 17 gay male college students from Taiwan and textual analysis of their correspondence though texting on Instagram, this study first contextualizes how the interactional processes engaged in on Instagram help constitute a collective identity pertaining to Taiwanese gay men on Instagram. The photo-sharing experiences are examined as an identity-making process involving the display of various symbolic capital, illuminating the calculated performance of taste and the collective past oppressed by the heteronormative society. The conclusion offers an alternative sociological intervention that goes beyond the notion of digital narcissism to help understand how the cultural capital on the presumption of photo-sharing experiences is invested.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125943356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.4018/IJSVR.2019070103
K. Marais
This article explores the use of indexicality for understanding the emergence of social-cultural habits. Based on the work of Parmentier, it works on a methodology in which social-cultural artefacts or patterns are regarded as traces of the semiotic processes through which they were formed. It proceeds from a definition of translation as the imposition of constraints on semiotic material, i.e. semiotic work, and explores the effects of this work as indexes of the work. The article then considers data from the University of the Free State (UFS) in a demonstration of the possibilities of this kind of analysis, suggesting that the UFS is mostly constructing its identity around foreignizing influences and excluding indigenous links.
{"title":"Translating the University","authors":"K. Marais","doi":"10.4018/IJSVR.2019070103","DOIUrl":"https://doi.org/10.4018/IJSVR.2019070103","url":null,"abstract":"This article explores the use of indexicality for understanding the emergence of social-cultural habits. Based on the work of Parmentier, it works on a methodology in which social-cultural artefacts or patterns are regarded as traces of the semiotic processes through which they were formed. It proceeds from a definition of translation as the imposition of constraints on semiotic material, i.e. semiotic work, and explores the effects of this work as indexes of the work. The article then considers data from the University of the Free State (UFS) in a demonstration of the possibilities of this kind of analysis, suggesting that the UFS is mostly constructing its identity around foreignizing influences and excluding indigenous links.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127111155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.4018/IJSVR.2019070105
Lucile Collin
The so-called ‘Information Revolution,' which begun in the 1990s and generated a global system of expansion of the virtual space, imposed reconfigurations on artistic expressions. In regard to literature, one sees not only the transposition of consecrated genres and textual forms into digital media, but also the creation of a specifically digital literature, one that is often marked by intermediality. The present article aims at approaching concepts such as ‘hypertext' and ‘hyper-writing', and the phenomena linked to digital textualities as ‘hyperfiction', ‘hyperpoetry', ‘holopoetry' and ‘hyperdrama', among others; besides, it also raises the question: to what extent does hyperliterature interfere with the status of “conventional literature” written and read in paper?
{"title":"Hyperliterature and Intermediality in the Expansion of Literary Production","authors":"Lucile Collin","doi":"10.4018/IJSVR.2019070105","DOIUrl":"https://doi.org/10.4018/IJSVR.2019070105","url":null,"abstract":"The so-called ‘Information Revolution,' which begun in the 1990s and generated a global system of expansion of the virtual space, imposed reconfigurations on artistic expressions. In regard to literature, one sees not only the transposition of consecrated genres and textual forms into digital media, but also the creation of a specifically digital literature, one that is often marked by intermediality. The present article aims at approaching concepts such as ‘hypertext' and ‘hyper-writing', and the phenomena linked to digital textualities as ‘hyperfiction', ‘hyperpoetry', ‘holopoetry' and ‘hyperdrama', among others; besides, it also raises the question: to what extent does hyperliterature interfere with the status of “conventional literature” written and read in paper?","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124364796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.4018/IJSVR.2019070102
J. Mueller
Some 30 years after its coining, the notion and concept of intermediality still proves to be of great relevance for many disciplines, ranging from semiotics to communication, media, literary, and social studies. However, in the digital era, intermediality as a work in progress has to meet the challenges of the so-called new media and develop innovative and adequate axes of research. This article presents some basics of the latest state of affairs of intermedia studies and proposes six central axes of future intermedia research. It focuses on the perspectives of an intermedia network history, which will tackle the reconstruction of historical functions of intermedia processes; the blurring of genre patterns; new interactivities; the interplays among medial, technological, economic, and social vectors; and the making of meaning in current media networks. Thus, some (interwinding?) paths of future intermedia studies will be indicated.
{"title":"Intermediality, Quo Vadis?","authors":"J. Mueller","doi":"10.4018/IJSVR.2019070102","DOIUrl":"https://doi.org/10.4018/IJSVR.2019070102","url":null,"abstract":"Some 30 years after its coining, the notion and concept of intermediality still proves to be of great relevance for many disciplines, ranging from semiotics to communication, media, literary, and social studies. However, in the digital era, intermediality as a work in progress has to meet the challenges of the so-called new media and develop innovative and adequate axes of research. This article presents some basics of the latest state of affairs of intermedia studies and proposes six central axes of future intermedia research. It focuses on the perspectives of an intermedia network history, which will tackle the reconstruction of historical functions of intermedia processes; the blurring of genre patterns; new interactivities; the interplays among medial, technological, economic, and social vectors; and the making of meaning in current media networks. Thus, some (interwinding?) paths of future intermedia studies will be indicated.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"30 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121015602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.4018/IJSVR.2019070101
J. Bateman
The phenomena of mixing, blending, and referencing media is a major topic in contemporary media studies. Finding a sufficient semiotic foundation to characterize such phenomena remains challenging. The current article argues that combining a notion of ‘semiotic mode' developed within the field of multimodality with a Peircean foundation contributes to a solution in which communicative practices always receive both an abstract ‘discourse'-oriented level of description and, at the same time, a biophysically embodied level of description as well. The former level supports complex communication, the latter anchors communication into the embodied experience. More broadly, it is suggested that no semiotic system relevant for human activities can be adequately characterized without paying equal attention to these dual facets of semiosis.
{"title":"Transmediality and the End of Disembodied Semiotics","authors":"J. Bateman","doi":"10.4018/IJSVR.2019070101","DOIUrl":"https://doi.org/10.4018/IJSVR.2019070101","url":null,"abstract":"The phenomena of mixing, blending, and referencing media is a major topic in contemporary media studies. Finding a sufficient semiotic foundation to characterize such phenomena remains challenging. The current article argues that combining a notion of ‘semiotic mode' developed within the field of multimodality with a Peircean foundation contributes to a solution in which communicative practices always receive both an abstract ‘discourse'-oriented level of description and, at the same time, a biophysically embodied level of description as well. The former level supports complex communication, the latter anchors communication into the embodied experience. More broadly, it is suggested that no semiotic system relevant for human activities can be adequately characterized without paying equal attention to these dual facets of semiosis.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121215971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.4018/IJSVR.2019070104
C. Clüver
This article offers an overview of the development of the interdisciplinary study of the interrelations of the arts and media during the past one-hundred years. From a focus on the binary relations of literature and the visual arts, music, and film these investigations turned into what came to be called “Interarts Studies” with a new tendency to include the interrelations of non-verbal arts and also to study configurations of a decidedly non-artistic nature. In the 1990s this would lead to the reconception of the arts as well as the applied arts and some non-artistic genres as media and their interrelations as intermediality. Simultaneously there began full-fledged attempts to construct a theoretical foundation for the study of intermediality (and transmediality) as a humanistic field, emphasizing media combination, intermedial reference, and intermedial transposition, especially adaptation. This article highlights developments in the German- and English-language discourse on these matters.
{"title":"From the “Mutual Illumination of the Arts” to “Studies of Intermediality”","authors":"C. Clüver","doi":"10.4018/IJSVR.2019070104","DOIUrl":"https://doi.org/10.4018/IJSVR.2019070104","url":null,"abstract":"This article offers an overview of the development of the interdisciplinary study of the interrelations of the arts and media during the past one-hundred years. From a focus on the binary relations of literature and the visual arts, music, and film these investigations turned into what came to be called “Interarts Studies” with a new tendency to include the interrelations of non-verbal arts and also to study configurations of a decidedly non-artistic nature. In the 1990s this would lead to the reconception of the arts as well as the applied arts and some non-artistic genres as media and their interrelations as intermediality. Simultaneously there began full-fledged attempts to construct a theoretical foundation for the study of intermediality (and transmediality) as a humanistic field, emphasizing media combination, intermedial reference, and intermedial transposition, especially adaptation. This article highlights developments in the German- and English-language discourse on these matters.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122251165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.4018/IJSVR.2019010103
Evans Matu Nguri
Television news has been studied from a number of perspectives. Few studies have focused on the moment of the encounter between the television viewer and the news. This research focused on what takes place at the encounter as described by the viewer. Its specific research questions were: what viewer typology constructs? What key news aesthetic emerges? And what is the nature of the encounter process? These were examined in a qualitative study mainly using a phenomenological approach involving 58 participants. The study had three key findings: that the television viewer is a disturbed, reflective, and dominating person at the encounter; that an epic news genre dominates the site and process; and lastly, that the key process at the encounter is one of intertextuality through a combative, combustive fusion and filter procedure. The research argues for a new area of encounter studies.
{"title":"The Television Viewer and the Television News","authors":"Evans Matu Nguri","doi":"10.4018/IJSVR.2019010103","DOIUrl":"https://doi.org/10.4018/IJSVR.2019010103","url":null,"abstract":"Television news has been studied from a number of perspectives. Few studies have focused on the moment of the encounter between the television viewer and the news. This research focused on what takes place at the encounter as described by the viewer. Its specific research questions were: what viewer typology constructs? What key news aesthetic emerges? And what is the nature of the encounter process? These were examined in a qualitative study mainly using a phenomenological approach involving 58 participants. The study had three key findings: that the television viewer is a disturbed, reflective, and dominating person at the encounter; that an epic news genre dominates the site and process; and lastly, that the key process at the encounter is one of intertextuality through a combative, combustive fusion and filter procedure. The research argues for a new area of encounter studies.","PeriodicalId":236408,"journal":{"name":"International Journal of Semiotics and Visual Rhetoric","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123387044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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