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VISUAL COMMUNICATION IN RIGA OUTDOOR ADVERTISING IN THE FIRST YEARS OF THE 20TH CENTURY (Vizuala komunikacija Rigas vides reklama 21. gadsimta pirmajos gados)

100%
Sedlina A.
Makslas Vesture un Teorija
|
2008
|
vol. 11
46-55
EN
The research paper 'Visual communication in Riga outdoor advertising in the first years of the 21st century' was aimed at: studying the means of visual communication used in outdoor advertising in Riga intended to transmit a certain message to the recipient; revealing the most appropriate semiotic methods to decode the message and structure of advertising; singling out the dominant tendencies of visual treatment of outdoor advertising; establishing the dominant messages of outdoor advertising. Achievement of the aims set by this paper were based on an examination of outdoor advertising created or exhibited in Riga after 2000 and produced by both Latvian advertising agencies and multi-national corporations. Advertising is a team effort (realised by media, advertising agencies and commissioners' groups) and cannot be categorised by nationality; some Latvian agencies are affiliates of international advertising agencies. As David Bernstein points out, the aim of an ad is to make the consumer to remember just the logo or brand of the company, not the product and related imagery. So choosing the name has not just denotative significance (that should give practical information) but connotative meaning as well - the brand identifies the producer (Lipton, Kalnozols etc.), it reveals the functions of the product, the geographic location of the company (t/c 'Dole, LMT, Air Baltic, etc.), fictive personalities (McDonald's), hyperbolas (Super Netto, Maxima). The more connotative indexes are created by the brand, the more powerful its impact and possibilities of variation. Although there are plenty of ideas on our advertising scene, there is often a lack of commissioners ready to take risks and rely on the media and advertising agencies' work and experience. As a result maximum information is often put into a single ad, ignoring its location and specific surroundings.
2
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SCÉNICKÝ DIZAJN A VIZUÁLNA KOMUNIKÁCIA. OD UMENIA K MARKETING

80%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
|
2022
|
vol. 70
|
issue 1
91 - 104
EN
The study explores the issues of theoretical and pragmatic thinking about scenic design, its means and practices. From a geographical point of view, the topic is examined mainly in the Slovak-Czech context and from a temporal point of view it covers mainly the last two decades. The basis of the analysis of the understanding of the concept of scenic design is a reflection on theoretical and partly artistic contexts that deal with dramatic, primarily theatrical works. The chosen examples represent structuralist, formalist, semantic, semiotic, scenological, architectural, design and marketing interpretations of the issue. The study also highlights those aspects of the traditional understanding of scenic design as scenography that have led to a major reception turn in recent decades. Within it, its non-artistic qualities have also been pointed out. The study works with comparative, analytical, synthesising and intersemiotic methods.
3

BOHUMIL KUBISTA'S PAINTING THE CAFE. ONE OF MANY POINTS OF VIEW

80%
Bendova E.
Umění (Art)
|
2007
|
vol. 55
|
issue 4
286-293
EN
Bohumil Kubista painted his well-known picture 'Kavarna' (The Cafe) in 1910 during a stay in Paris. The author intended it as a public presentation of the principles of his work at the time - the synthesis of perceived phenomena of contemporary life and the forms of classic artistic expression. Hitherto this painting has been interpreted in the context of the painter's broader artistic direction, specifically his expressive and symbolic treatment of colour and composition. Yet another point of view is possible, one starting from the phenomenon of the cafe as such, comprehensively grasped by Kubista. This view is supported by sketches from his Paris sketchbook, for example. We come to the conclusion that an important role in his thinking was played by a strategy of viewpoint regimes - the identification of the role of viewer of the painting, the role of visitor to a real cafe, the role of cafe customer on the boundary and in the centre of events. On the basis of texts of the period we see that the cafe can be understood as a specific place of visual communication where - in the real coffee house situation - space is wholly the domain of glances. The specific features of the cafe and concepts taken from reception theories and the theory of 'gaze' are brought together here. In the painting Kubista consciously reverses the gaze regime: the viewer becomes the person entering the cafe, finding himself on the fringe of events into which he is drawn by the view by which the cafe depicted in the sketches had been characterised before. For Kubista the initial inspiration was the woman-courtisan, a typical figure of the Cafe d'Harcout. By inserting the decision-making gaze of such a woman between the main figures in the scene Kubista emphasises the aspect of free choice with all the social consequences. The scene is not just spectacle as in the case of contemporary representations of the same coffee house or contemporary illustration, it has a moral accent: it is the synthesis of modern society and its social critique.
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