Image Makers Research Articles

Analisis Faktor Konfirmatori Bauran Pemasaran Untuk Penciptaan Brand Image Pisang Mas Kirana (Musa Acuminate) Kabupaten Lumajang

Economic developments in Lumajang still based on agriculture sector. One of the major agricultural commodities in Lumajang with patented flagship product is the “Pisang Mas Kirana”. Characteristics of “Pisang Mas Kirana” is no different than other agricultural commodities, which is easily broken and consumed in a fresh state, so it needs special treatment in post-harvest handling and the right strategy for the marketing of “Pisang Mas Kirana” to be effective and efficient. One marketing strategy that is widely used is to analyze the marketing mix “Pisang Mas Kirana”. The purpose of this study was to determine the relationship of each indicator with the marketing mix variables that influence and contribute to the creation of the brand image of “Pisang Mas Kirana”, with the maximum likelihood estimation (MLE) method to estimate the model parameters. The analysis technique used in this study is a confirmatory factor analysis. The results showed that the perception of respondents study to the marketing mix and brand image “Pisang Mas Kirana” were good. Most powerful indicator as a measuring product variable was the color, while the weakest was the packaging. Most powerful indicator as a measure of price variables were price variations, while the weakest was the price of “Pisang Mas Kirana”. Most powerful indicator variable as a measure of the distribution channel was location, while the weakest was transportation. Most powerful indicator as a measure of promotion variable was the media of the promotion, while the weakest was clear information. Most powerful indicator variable as a measure of brand image was the image of the consumer, while the weakest were the image makers.

Republic of Spin: An Inside History of the American Presidency

Who molded public perceptions of modern presidents and how was it done? Often the perpetrators were less well-known advisers, David Greenberg argues. In this encyclopedic volume chronicling 120 years of White House imagery, Greenberg explains that presidential spin existed long before television and the Internet and was often engendered by behind-the-scenes White House experts. Spotlighting spin is a daunting task, akin to chasing a wind-blown soap bubble across an empty field. Yet the narrative holds together quite impressively, even if Greenberg is a bit uneven in his treatment. Presidential influence is separated into six historical categories: the ages of publicity (1896–1920), ballyhoo (1921–1932), communication (1933–1945), news management (1945–1960), image making (1960–1968), and spin (1969–2016). The point is that each president had his methods, fitted to his particular electorate, media, and White House personalities. Rooted in well-documented discussion, The Republic of Spin is, nevertheless, more esoteric than most presidential compendiums, which usually focus on nuts-and-bolts issues. Greenberg explores philosophical underpinnings and democratic ideals in lengthy ponderings. He asserts that shadowy advisers often affected the public's acceptance of changing democratic norms. The narrative frequently strays from the presidency for several pages, because the book is neither about presidents, necessarily, nor about the press. Presidents are men guided by image makers, and the focus is on that relationship. At the same time, journalists are wooden figures, by and large (with some notable exceptions, such as Walter Lippmann), who are manipulated and maneuvered.

Image makers of British modernism: Dell & Wainwright at The Architectural Review

‘It used to be unkindly said of the modern school of architects before the war that they designed their buildings not to please clients or even themselves, but to please Dell & Wainwright. Unfair though this was, it paid a deserved compliment to Dell &Wainwright, the official photographers of The Architectural Review. It meant that their representations of modern buildings—resplendent in a perpetual mellow sunshine, beautifully composed within a frame of leafy branches or above a foreground dappled with shadows—when reproduced on the glossy pages of the Review came near to the ideal their designers had in their imaginations. They were the brave new world itself …’ This comment, published in the 13th June, 1946, Issue of the Architects’ Journal on the occasion of Mark O. Dell’s retirement, highlights both the expressive power and the influential nature of Dell & Wainwright’s photography. Their images were part of the Review’s 1930s campaign to promote modern architecture in Britain and given much prominence in the periodical’s pages, which had been reshaped by the Editor Hubert de Cronin Hastings and his team thanks to the use of experimental typography and innovative layouts. Many of the trademark features of Dell & Wainwright’s work had been introduced in architectural imagery by the ‘New Photography’, which had originated in continental Europe in the previous decade and encompassed both the ‘New Vision’ of Moholy-Nagy and Rodchenko, and the ‘New Objectivity’ of photographers such as Werner Mantz and Albert Renger-Patzsch. This paper examines the origins of Dell and Wainwright's partnership, their work for The Architectural Review and its critical reception, but also questions some of the most recurrent assumptions related to their photographic output, which was decidedly wider in range than is commonly believed.

Embroidered portraiture and the intentional creation of human visibility and value

Abstract The aim of my research was to create a portrait following a sequential practice-based process. A mug-shot photograph of a female face was analysed and reinterpreted as an embroidered portrait. Hand-stitched embroidery and embellishment techniques define the facial features and surroundings of the subject matter. The final representation encapsulates my total experience while researching this woman’s image in both a practical and a theoretical way. This encompasses the physical procedures of sketching, painting and embroidering her likeness, with a preoccupation and self-awareness necessary to understand the theories engaged with during these processes. I used an arts-based framework, looking at Michael Podro’s writing ‘Depiction and the concept of subjectification’ in interpreting the portrait subject. In my analysis of the mug shot I drew on Roland Barthes’ theories of ‘essence’ or ‘air’ of a person and his concept of ‘punctum’, the personal and unexplained emotional response caused by a photographic image. Similarly, Gilles Deleuze’s concepts of ‘affection-image’, the ability for a photograph, specifically the extreme close-up of the face or ‘traits of faceiticity’, to move, touch, disturb, disgust... to profoundly affect the viewer with the ‘micro-expressions’ and fine detail magnified in her frozen look. I also referred to Claire Valier’s writings on the ‘punitive power’ of the documentary photograph to punish, shame, shock, elicit guilt or incarcerate as a means of social commentary and an agent of justice (Valier 2004: 254). These philosophies informed the potency and persuasiveness of the photographic content. The picture acts as a visual record of an actual moment that facilitates belief in the accuracy of the event depicted. With this, my female subject represented in the mug shot was a criminal, a prostitute and there was incriminating physical evidence of drug addiction. By transforming the mug shot to a handcrafted embroidered portrait, I intended to remove the stigmatized version of the women. While doing so, I willingly addressed the issues of agency in the subject, viewer and image–maker relationship. These concepts brought forth an intense analysis of my motives and intentions in making the portrait, which eventually lead to an understanding and development of a process that revealed my own translation of my subject’s humanity.

인용 이미지 구축자 프로파일링을 이용한 국내 여성학 분야 연구 전선 분석

인용 이미지 구축자 프로파일링을 이용한 국내 여성학 분야 연구 전선 분석

Социально-психологические факторы, способствующие и препятствующие первичному отказу от табакокурения (на примере исследования курящих девушек)

<p>В статье представлены программа и результаты исследования факторов и механизмов, способствующих и препятствующих вовлечению в курение и отказу от него (на примере исследования курящих молодых девушек). В основе данного исследования лежит предположение, что мотивы курения сильно дифференцированы и обусловливают разную расположенность к отказу от курения. Целью исследования является выделение факторов и механизмов, способствующих и препятствующих вовлечению девушек в курение и отказу от него, и выделение на этой основе сегментов курильщиц. Исследование было проведено в 2011–2012 гг., объектом выступили курящие девушки 15–24 лет (жители г. Кострома, Россия). Для сбора эмпирических данных использована авторская анкета «Факторы вовлечения и отказа от курения».</p><p>На основании факторного анализа были выделены группы мотивов курения, которые легли в основу сегментации курильщиц. Группы респондентов можно дифференцировать по содержанию компонентов мотивации к табакокурению (имиджмейкеры, гедонисты, социальные, иррациональные курильщицы). Выявлен важный факт изменения мотивации к курению с увеличением стажа: среди курильщиц с наибольшим стажем преобладают «социальные курильщицы» и «курильщицы-гедонисты».</p><p>Также были выявлены компоненты мотивации к отказу от табакокурения — негативные физиологические ощущения, разочарование в тех или иных выгодах от курения, осознание нелогичности курения, серьезные заболевания в будущем. При этом для разных групп курильщиц отмечается различный набор стимулов к отказу, что определяет дифференцированный подход к воздействию на курильщиц в рамках антитабачных мероприятий.</p><p>Результаты такого исследования могут являться основанием для разработки антитабачных мероприятий. Актуальной и перспективной научной проблемой является изучение социально-психологических факторов первичного отказа от табакокурения и психологических особенностей некурящих людей (потенциальных курильщиков).</p>

PROSPECTS OF DEVELOPMENT OF POLITICAL IMAGEOLOGY

Современные направления и тенденции развития политической науки отличаются мультипарадигмальностью, смешением множества подходов и принципов. В области прикладной политологии наблюдается появление все более креативных направлений и принципов, что не может не воздействовать на общий научный инструментарий и практику. Так, с появлением имиджелогии стали разветвляться другие прикладные отрасли данного направления. Можно подчеркнуть, что политическая имиджелогия считается новым веянием среди субдисциплин. Это представляет интерес для исследователей и заставляет обращать внимание на множество задач, которые предстоит решать в ближайшее время для развития данной науки. Кроме того, научные знания в области имиджелогии среди широких слоев населения необходимо популяризировать, содействовать повышению профессионализма и распространению этических норм в работе имиджмейкеров; повышать престиж новой профессии; оказывать помощь и поддержку лицам, которые занимаются научной, образовательной и практической деятельностью в области политической имиджелогии. Внедрение, структурная разработка новейших имидж­технологий, создаваемых как в России, так и за рубежом, объединение усилий специалистов, организаций и предприятий по их практическому использованию являются основными тенденциями и перспективными направлениями в становлении и развитии политической имиджелогии. Дальнейшее расширение международных связей и сотрудничества, обмен информацией и опытом между специалистами и учеными в области политической имиджелогии представляются формой эволюционного движения в ближайшие годы функционирования научного сообщества. Цель: обозначить основные тенденции и перспективы развития современного направления в прикладной политологии – политической имиджелогии. Метод или методология проведения работы: в статье используются системный, сравнительный и структурно-функциональный подходы. Результаты: обозначенные перспективы и тенденции развития прикладной политологии, ветви имиджелогии – политической имиджелогии, позволяют смоделировать современный ожидаемый образ политического лидера, позитивный или негативный имидж государства. Область применения результатов: результаты проведенного исследования могут быть использованы в прикладных направлениях политической науки, в изучении и анализе политического имиджа; в процессе конструирования имиджа политического лидера или кандидата в предвыборной кампании.

The Declining Relevance of Candidate Personal Attributes in Presidential Elections

This article examines sixty years of data from the American National Election Studies, and finds that the electorate's focus on candidate attributes has declined substantially. Whereas 80% of respondents had mentioned personal attributes in the past, in recent elections only about 60% have done so. Furthermore, such comments are now more tied to partisan identification and have less of an independent impact on voting behavior. The chances of presidential image makers successfully making a difference by emphasizing a president's personal character are now much less than in the era of Johnson, Nixon, and Reagan.

Strong Female Character

Strong Female Character Ashton Cooper (bio) The mythical Gorgon Medusa retains a strong hold on the modern imaginary, from Sigmund Freud’s contention that her tale was the ultimate illustration of castration anxiety, to Hélène Cixous’s poststructuralist positioning of her threat to phallogocentrism, and to Medusa’s Revenge, a short-lived second-wave lesbian theater company.1 When Perseus cuts off Medusa’s petrifying head, he effectively transforms her into an image he can then use as a weapon for his own ends. He therefore doubly removes the power of the monster, bringing about not just her death but also the postmortem control and manipulation of her image. The myth thus becomes a striking metaphor for how powerful and instrumental images of women can be in the very oppression of women. And so there is the premortem Medusa meeting our eyes on the cover of RE/Search’s 1991 early Riot Grrrl compendium Angry Women, a volume that gathers together sixteen interviews with women who, at the very least, have taken charge of their own representations. Here, Medusa is still vibrant, still commanding her own powerfully deadly image, a potent symbol for the women the collection presents. If Cixous urged women to write their own stories, then these artists and writers have devoted themselves to creating unflinching images of the female body on their own terms. Carolee Schneemann’s interview in Angry Women outlines a corporeal methodology for depicting the female body, which Schneemann herself began using in the early 1960s and which remains useful up to the present. In her artwork and writing, Schneemann images herself and the female form with an emphasis on physicality and the specificity of a body’s lived experience. She uses blood, bodily fluids, and yonic interior spaces to stress really feeling the body at the same time that she creates representations of it. She conflates paint and blood—the material that makes images with the material that makes bodies. “I am both image maker and image,” Schneemann says.2 Apart from her artwork, a key facet of Schneemann’s practice is her refashioning [End Page 232] of our understanding of ancient art, something she does often in interviews and in her writing. Schneemann goes beyond the Second-Wave turn to herstory, which uncovers and glorifies female historical figures; she instead rewrites history so that our foremothers become women depicting themselves. “I assume those ancient ‘goddess’ figurines were made by women,” she says in Angry Women.3 Another historical revision is her contention that those smeary red hands pressed on cave walls are actually made with menstrual blood. “Complex electronic measurements have confirmed that the patterns of handprints in Paleolithic caves were made by women (probably using menstrual blood),” she wrote last year.4 Complex electronic measurements aside, her reclaiming and rewriting of history recontextualizes reified concepts—“fertility” figures and the first art made by “man”—as images made of and by women. How can this change our conception of history? How can this change our conception of our origins and ourselves? Schneemann’s most transformative work for me is “Interior Scroll.” In Angry Women, she describes it: “In one performance, ‘Interior Scroll,’ [1975] I stood naked in front of the audience, extracted a paper scroll from my vagina and read a text on ‘Vulvic Space’— about the abstraction of the female body and its loss of meanings.”5 The abstraction she refers to is precisely why it is so important to reclaim “fertility goddesses,” even metaphorically. In emphasizing the specificity of the body, Schneemann asks us to think about who is making the art and, beyond that, the sociopolitical context in which they existed. “I mistrust intensely whatever you might call your ‘own life’ because whatever it is, it might already be colonized by principles and aesthetic ideals that society offers you,” she says in Angry Women. “So my work has to do with cutting through the idealized (mostly male) mythology of the ‘abstracted self’ or the ‘invented self.’”6 Her insistence on difficult, unwieldy, messy, body fluid-covered images of women and all their cavities is an effort to render that abstracted female self material. In the current moment...

Perceptions and attitudes of students of mass communication toward mental illness in Nigerian Tertiary Institution

Background: The power of the modern mass media is not limited to its ability to communicate information and entertain but derives primarily from its ability to define situations, thereby enabling it to construct social reality. Stigma is related to negative stereotyping and prejudicial attitudes that in turn lead to discriminatory practices. Aims: The study sought to know the perceptions of and attitudes of mass communication students towards mental illness and the mentally ill. Settings and Design: The study population comprised of final year Diploma students of Mass Communication of a foremost tertiary institution in Nigeria. Methods and Material: The World Psychiatric Association questionnaire measuring attitudes towards Schizophrenia was modified and administered to the students. Results: Study also showed only one-fifth of all respondents had contact with either an advert or a promotion about mental illness. About three-quarter (74.1%) of those who had come in contact with information on mental illness had done so through audiovisuals including television and radio. More than half of the students ranked environmental factors foremost among causes of mental illness. Majority of the students (85.9%) would definitely not marry someone with mental illness. Conclusions: The enormous potential and influence the media has on mental health issues would require that mental health professionals provide great input into the enlightenment program for these young and mental health-naive potential image makers.

Sport and Politics - Unilateral or Joint Interests? Romanian Case

Like any field of activity, sport must face the changes on three levels: micro social - at the individual level, medium level - sports institutions, and at macro social level - at the level of society as a whole. Policies in sports, cultivation and promotion of sports talent are a long term investment for a potential benefit of a nation. Sport and politics are not separate realities and cannot be that meet by chance in life practices. Sport has become a policy area that it was exploited due to its universalization. Sports institutions were forced to politicize certain decisions to survive, but also to pursue their interests and to create a favorable image. In Romania, regardless of the political regime or color of the time, sport served as resource, if not an economic, ideological, political and symbolic stake. This area was, through the top people, the safest spokesman and image makers of Romania in relation to other states. However, as in other countries, Romanian sports performance are characterized by a sinusoidal trajectory, fluctuating constantly. Compared to the current democratic regime, communist regime (the period after World War II and until 1989) anticipated the potential of sports, used and benefited more than the results obtained by the Romanian athletes in international competitions to form their own image: the first, by identifying with the nation's athletes, on the other hand, the leading elite.

Mritshilpis of Kumortuli: Exploring Normative Institutional Contexts and Work Practices

Drawing on an empirical study of the work practices of a neighborhood of mritshilpis, or clay image makers, this paper examines the institutional contexts for practice reproduction. By unpacking mr...

The Hidden Beauty in Biomedical Imaging

Caretakers, researchers and photographers working in a busy academic settings, every day are faced with images that are awe-inspiring for their beauty and for the terror they may represent to patients suffering from disease. Beauty in this context is a relative term. It may be seen as the delicate lacework of cells within the normal human brain reminiscent of a Jackson Pollack masterpiece, or the multitude of colors and textures formed by fungal organisms in a microbiology lab. Herein lies the juxtaposition image makers seek to represent. When contemplated in isolation, each represents a visually interesting image. However, when viewed with an awareness of the context in which the image was obtained, each image takes on the ability to evoke an alternative human emotion.

Congressional Communication Managers’ Roles, Motivations and Messages Related to U.S. Foreign Policy

This analysis provides a broad overview of the roles, motivations and messages of the United States Congress’ 500+ press secretaries/communications managers employed by virtually every U.S. senator and representative. It focuses, in particular and for the first time, on their communications related to U.S. foreign (as opposed to domestic) policies. Doing so it summarizes select findings from a book the author has written, the prospectus for which is under review, with the title, Press Secretary: The Story of Capitol Hill’s Image Makers. The analysis reports the press secretaries build close relationships with the Members of Congress they faithfully serve; function best when practicing the Two-Way Symmetrical Model of public relations; use common persuasive techniques employed by public relations specialists worldwide; stress “truthfulness” in their communications; practice a “wave model” when choosing issues on which to focus; experience new media’s challenges and opportunities; and suggests their work ultimately serves the U.S. democracy. The politician will be only too happy to abdicate in favor of his image, because the image will be much more powerful than he could ever be. - Marshall McLuhan

Latino image makers in Hollywood: performers, filmmakers and films since the 1960s

Latino image makers in Hollywood: performers, filmmakers and films since the 1960s

THE INVISIBLE WITHIN

:Visual culture – art, film, entertainment, advertising – are saturated with images of normative heterosexual masculinity. They form visual narratives that project a largely coherent kind of masculinity where heterosexual men are shown to be creative and powerful; they initiate heroic action, take the moral high ground and preserve traditional roles and the status quo. This widely extensive visual field, peopled with normative images of masculinity, also affects and infiltrates the domain of art exemplified by Jackson Pollock and abstract expressionism which, to the present day, continues to project masculinity as the originator and pioneer of aesthetic value. This essay reviews feminist and queer artists’ image making that appropriates the myth of homogeneous masculinity and turns it into a medium for a variety of creative and hybrid explorations. I argue that Deleuzoguattarian concepts such as becoming-woman and becoming-imperceptible help us to understand this molecularisation of masculinity. And importantly in the other direction, these feminist and queer image makers allow us to understand and explore more fully these concepts.

The feel of the city: experiences of urban transformation

Introduction - The Body Urban Chapter 1 - Comparable Cities Chapter 2 - Image Makers Chapter 3 - Encounters with Industrial Space Chapter 4 - Home for a Rest Chapter 5 - Street Scenes Conclusion - Keeping in Touch

Cardiovascular risk factors and future risk of Alzheimer's disease.

Alzheimer’s disease (AD) is the most common neurodegenerative disorder in elderly people, but there are still no curative options. Senile plaques and neurofibrillary tangles are considered hallmarks of AD, but cerebrovascular pathology is also common. In this review, we summarize findings on cardiovascular disease (CVD) and risk factors in the etiology of AD. Firstly, we discuss the association of clinical CVD (such as stroke and heart disease) and AD. Secondly, we summarize the relation between imaging makers of pre-clinical vascular disease and AD. Lastly, we discuss the association of cardiovascular risk factors and AD. We discuss both established cardiovascular risk factors and emerging putative risk factors, which exert their effect partly via CVD.

Maps of Paradise, by Alessandro Scafi

Maps of Paradise, by Alessandro Scafi. Chicago, University of Chicago Press, 2013. 176 pp. $40.00 US (cloth). Imagining perfect happiness at some past or future time, and/or in some remote place, we are reminded, is a shared human need, one consistently tinged with a sense of mourning for the inaccessibility of heaven in this life and the apparently fallen condition of our world (p. 8). Though nearly all cultures embrace a concept of paradise, comparatively few insist upon its cartographic location. In his excellent Maps of Paradise, Alessandro Scafi confronts one such exceptional trajectory, critically examining the preoccupation of Christian theologians and image makers from late antiquity to the enlightenment with situating the Garden of Eden upon the terrestrial globe. Readers are introduced to these maps through over one hundred superb colour illustrations, acquiring in the process a palpable longing for the gorgeous paradises described by medieval illuminators and early printmakers alike. Chapter one: Paradise Nowhere and Everywhere surveys the prevalence and variety of paradisiacal ideologies across cultures, moving succinctly from the ancient Near East, to early Islam, to the atheistic utopia of John Lennon's Imagine. Most usefully, in presenting a diversity of views, Scafi underscores the distinctiveness of the (largely Latin) Christian tradition that lies at this book's core. Chapter two: Mapping the Territory provides a necessarily brief overview of the range of maps produced by Christians over nearly two millennia. The fifteenth-century Venetian world map of Giovanni Leardo serves as a fascinating example of the seeming paradox of locating Eden on an ostensibly modern image of the earth. The visually stunning mappae mundi of the twelfth through fourteenth centuries form the core of Scafi's third and fourth chapters and, in many ways, constitute the heart of this study. Chapter three: Mapping the Bible unpacks the relationship between terrestrial maps and sacred text, exploring how scripture and image intersected to envision the medieval globe. One of the most distinctive features of these maps is their imposition of historical events onto the framework of territorial reality. The fourth chapter, Mapping Time examines this conflation of space and time, focusing especially on the unique narrative structure by which biblical history proceeds from East to West across the surface of medieval maps. Readers thus acquire a feel for the textures and contours of a distinctive geography often at odds with expectations. Indeed, one of the strengths of this book is its clear, at times elegant, elucidation of the historical situation from which medieval maps emerged. The history of cartography, once preoccupied with evaluations of facticity and beholden to narratives of progress, becomes, in Scafi's hands, a vital tool for unearthing the cultural and intellectual patterns of the past. Chapter five: Where is Nowhere? explores the ways in which the increasingly precise cartographic modes of early Europeans encroached upon and increasingly marginalized Eden's terrestrial location. …

Alistair O’Neill, curator of the exhibition ‘Guy Bourdin: Image Maker’ interviewed by Pamela Church Gibson

Abstract