Movie Posters Research Articles

Semiotic Analysis of Anna Karenina Movie Posters

Literature and cinema are two arts that help each other to improve. Novels, a sub-branch of literature, allow the film industry to grow and earn more. A novel adapted to cinema constitutes a source for the scenario, which is considered as the main element of the film and makes the novel the popular subject of the script. Adaptation strengthens the relationship between literature and cinema, as a film is a bridge between the literary audience and the movie audience. Anna Karenina, written by Lev Tolstoy between 1876 and 1877, is one of the films adapted to the cinema in 1967, 1997 and 2012. In this study, the posters of the movie "Anna Karenina" designed at different periods will be analyzed. Within the scope of the research, it is tried to determine whether there are similarities or differences between the posters by interpreting the movie posters with the semiotic method.

Reception and revision of women-related translation paratexts: South Korean cases

ABSTRACT In the most recent feminist movement in South Korea, women challenged misogynist discourses in various ways. They made vicious comments about those who created and disseminated misogynistic discourses. They also strongly demanded a revision of misogynistic texts and boycotted cultural products in which women were described inappropriately. Against this backdrop, the present study examines misogynistic paratexts of translations published in South Korea to show how gender ideology could affect the reception and revision of paratexts and how closely translations and paratexts could be interrelated in a feminist context. The paratexts examined in this article are (1) a translator’s postface, (2) a subtitled trailer, (3) transcreated movie posters, and (4) promotional web-texts for a localised mobile game. These paratexts were strongly criticised and revised in a way that reflected particular gender perspectives. The article concludes with brief discussion about paratext-readers, paratext-creators, and relations between paratexts and translations.

The Powerful Male Hero: A Content Analysis of Gender Representation in Posters for Children’s Animated Movies

Findings across a wide body of research suggest that media targeted at young audiences often portray characters according to stereotypical gender roles. Childhood is a particularly sensitive time in gender identity development, and logic from social cognitive theory suggests that repeatedly observing these stereotypes can have a lasting influence on young audiences’ worldview. Building on previous research investigating gender role displays in film content, and with the expectation that content creators use movie posters to convey a one-shot summary of films to audiences, we conducted a content analysis on the gendered power depictions of the main characters in movie posters of 152 popular U.S. animated children’s feature films produced over the last 80 years. Findings revealed that main characters were more likely to be male and that males were portrayed as more powerful. These results add to a growing, yet substantial, body of research illustrating the prevalence of stereotypical gender role portrayals across virtually every popular medium with which children come into contact. We discuss our results’ implications for potential short-term and long-term effects of exposure to films’ gender role stereotypes on young viewers’ real-life gender role expectations.

Poster-Based Multiple Movie Genre Classification Using Inter-Channel Features

As the scale of the film industry grows, the demand for well-established movie databases is also growing. The genre of a movie supplies information on its overall content and has multiple values. Therefore, it should be well classified utilizing the characteristics of movies, without omissions in the database. In this study, we extract the optimal information and characteristics from movie posters to aid the classification of movies into genres and propose the use of a Gram layer in a convolutional neural network (CNN). The Gram layer first extracts style features by applying the Gram matrix to produce a feature map of a poster image. Using this as a style weight, the existing feature map is merged with style information to perform the genre classification task. The proposed Gram layer performed multi-genre classification tasks with higher efficiency than a residual neural network (ResNet), which is the current CNN model used for such tasks. We compared the activation map with the Squeeze-and-Excitation network, which gives weight to the image, and we confirmed that the introduction of the Gram layer actually focuses on the style of the movie poster. To classify the movie genres, we reconstructed the poster dataset into 12 multi-genres that emphasized the characteristics of each poster.

浅析美国电影海报设计中的视觉符号

浅析美国电影海报设计中的视觉符号

Multi-label Movie Genre Detection from a Movie Poster Using Knowledge Transfer Learning

The task of predicting a movie genre from its poster can be very challenging owing to the high variability of movie posters. A novel approach for the generation of a multi-label movie genre prediction from its poster using neural networks that employ knowledge transfer learning has been proposed in this paper. This approach works on two fronts; one is aimed at creating a large, diverse and balanced dataset for movie genre prediction. The second front involves reframing the problem to simpler single-label multi-class classification and generating a multi-label multi-class prediction on a given movie poster as input. The experimental evaluation suggests that our approach generates a remarkable accuracy which is a result of a larger, evenly distributed dataset, simplifying the problem to a single-label multi-class classification problem and because of the use of knowledge transfer learning to extract higher-level feature.

Ukrainian film poster of 1947—1994 from the collections of the VNLU as a special kind of creativity and mass communication

The article is devoted to the research of the Ukrainian movie poster of 1947—1994 from the funds of the Vernadsky National Library of Ukraine (VNLU). The VNLU Ukrainian Circulation Poster Foundation has more than 3500 copies that reflect the history of cinema development in general. Developing creative potential, the movie poster became a noticeable independent phenomenon and occupied a leading position in the field of propaganda. The nature of a movie poster makes it possible to see it as a social and communicative tool and as a subject of fine arts belonging to different genres. The genre quite accurately reflects the actuality of art, the response of artists' creative efforts to historical conditions and the request of time. Being a carrier of visual information in mass media, a poster in graphic design appears as a complete artistic and communicative phenomenon. This tool of information is a powerful tool for influencing human consciousness. By means of looking at the posters that are used to promote the movie, we get information about the movie. The movie poster reveals the content of the movie, reflects the individual features of the creator of the poster. Each sheet is a powerful source for exploring the personalities (actors, sound producers, directors, directors, screenwriters, film artists, etc.), film studios that made the films. The article analyzes the movie posters of 1947—1994 that are stored in the funds of the VNLU. The results of observations on the forms of composing plots and the historical development of the poster are covered.

Impact of online information on the diffusion of movies: Focusing on cultural differences

To ensure a movie's success, managers must understand why consumers buy tickets. Some are induced by trailers or movie posters while others are triggered by their friends' recommendations. Using Bass's (1969) terms, we may classify the former as innovators, who are influenced by external factors including advertisements and media reports, and the latter as imitators, who are affected by internal factors such as word-of-mouth. Regardless of their motivation, in the digital era, consumers easily obtain movie-related information through websites or social networking services. Therefore, marketers should focus on how online information influences product diffusion. Additionally, each country's unique cultural background results in different consumer behavior. The current study applies the Bass diffusion model to explore key differences in the diffusion patterns of movies between culturally distinctive markets. Further, this study aims to identify the factors that result in innovation and imitation effects in the markets.

Effectiveness of deconstruct designed film posters Structures

The addresses of the research destruction, beyond the postmodern definitions and most closely associated thinking, and what caused the change in vision over the previous concepts that reflected the structures varied designs, including designs film posters, and by reading done by a researcher on the designs of film posters for international film festivals that adopt and institutional clients based on their design visions and platforms serving the intellectual purpose and structural notably the dismantling of a pop-up as a vision of the curriculum classic, you may count it a springboard to justify the research problem, through the following question: - is the effectiveness of the disassembly role in bringing about changes in the structural context and conceptual understanding of the design idea poster carries the elements of glitter and multiple connotations? The research aims to (know the deconstruction and its effectiveness of designed film posters Structures), and the first chapter dealt with in addition to the problem of the research and its objective, the importance of research and its borders and determine the terminology, identifies research study film posters own definition in the Cannes Film Festival for the period (2001-2011), also dealt with research in theoretical framework to two topics are: - the first topic / disassembly trend Conceptual (thought, art, design) and deals with topics (the impact of deconstruction in art and design, effective idea Altsamamh in accordance with the direction disassembly. The second topic / elements in accordance with the direction of classic in the design of movie posters, and addresses topics (Altibogravekah elements in the design of posters cinematic, analysis and installation of infrastructure in accordance with the clastic trend, deconstruction and Altadeddat semantic and interpretive meaning. Then, the preparation of the analysis form part of Chapter III, which dealt with the researcher the procedures, including the research methodology, the research community and research sample chosen to follow the way intentional, and commensurate with the nature of the search, either the fourth quarter has included the findings of the study, and presentation of the conclusions and recommendations and the proposed one.

Translating Art Film Posters and the Strategic Conveyance of Ideas Through Images

예술영화의 포스터는 예술영화의 특유의 독창성과 예술성을 표현함과 동시에 관객을 끌기 위해 시각적 이미지를 통해 의미의 빈틈을 남겨둔다. 그리하여 이러한 의미의 공백은 해독과정을 통한 관객의 상상에 의해 채워질 수밖에 없다. 즉, 영화포스터 또한 여느 텍스트와 마찬가지로 영화포스터와 관객의 상호작용에 의해 의미를 가지게 된다. 하지만 예술영화포스터가 해외에 수출되기 위해 다른 언어로 번역될 때는 원문과 다른 관객을 대상으로 하기 때문에 원문의 영화포스터가 가지고 있던 의미의 간극은 목표 관객에 따라 다시 조정되어야 한다. 따라서 본 논문은 해외의 예술영화포스터가 국내에서 번역될 때 이러한 의미의 가능성들이 어떻게 변이되는지를 시각적 이미지의 도상적 요소와 조형적 요소를 중심으로 살펴본다. 그 결과, 원문에서 전략적으로 남겨놓았던 의미의 모호성들은 영화포스터가 번역되면서 인물, 행위, 그리고 시선이 추가되면서 의미의 빈틈은 자국화를 위해 번역가에 의해 채워진다. 즉, 예술영화포스터의 번역전략은 관객에 의해 다양하게 해석될 수 있는 가능성을 축소하고 의미를 고정화시키기 위한 것이다. 결국, 영화포스터는 국내 관객에게 포스터 번역가에 못지않게 충분한 정보를 제공하여 의미를 확정짓는 번역전략을 택한다. 요컨대 예술영화포스터의 번역은 확정된 의미를 제공하여 관객이 영화를 관람하도록 유도하는 상업적인 기능을 수행하는 재창조 행위이다.Art film posters express the originality and artistry of the films they advertise while leaving gaps of indeterminate meanings as a strategy for attracting audiences. Potential filmgoers use their imagination to fill these gaps through a decoding process. Movie posters, like any other marketing tool, have their context and meaning fully developed through interaction between the poster and the intended audience. However, when art film posters are exported to regions where audiences speak different languages, they must be adapted to appeal to the local audience. Therefore, the gaps of meaning in the original film poster should be adjusted according to the newly targeted filmgoers. This essay examines how the ambiguous meanings of original art film posters are modified when translated into Korean by focusing on the iconic and plastic elements of images. As a result, the ambiguous meanings strategically crafted in the original posters are modified by the poster translator who add or change the characters, their actions, and their gaze. Careful translation of these posters prevents the possibility of misinterpretation by the new audience. Throughout this process, the revised film posters are subject to a translation strategy that conveys information and confirms accurate meaning to allow the local audience to derive a similar level of understanding as the poster’s producers. By providing audiences with clues and answers through the alteration of images, the translation of art film posters encourages new audiences to watch the films.

Verbal and Non-Verbal Signs of “Moana Movie Poster

The study is entitled Verbal and Non-Verbal Signs of “Moana” Movie Posters. This study focused on the analysis of verbal and non-verbal signs of “Moana” movie poster and the meaning of those signs. It was aimed at identifying the verbal and non-verbal signs found in “Moana” movie posters. It was also aimed at explaining the meaning of verbal and non-verbal signs in those movie posters. The data of this study were taken from the websites namely www.impawards.com. The data were collected using the documentation method. Then, the collected data were qualitatively and descriptively analyzed based on the theories applied in this study, namely the theories of semiotics proposed by Saussure, theory of verbal and non-verbal signs proposed by Dyer, and supported with the theory of color terms proposed by Wierzbicka, and theory of color meaning proposed by Eisman. The result of analysis shows that “Moana” movie posters have verbal and non-verbal signs. The verbal signs are “Disney”, “Moana”, “Sing with Moana!”, “Sing-Along”, “Special Sing-Along Engagement”, “January 27th in Select Theatres Nationwide”, “Soundtrack Available Now”, “From the Creators of Zootopia and Frozen”, “November 23”, “In 3D and Real D 3D”, “The Ocean is Calling”, Dwayne Johnson as Maui”, and “Auli’i Cravalho as Moana”. Those verbal signs provide the information about the title, release date, movie quality, the information of actor and actress as voices over, the information about the soundtrack of the movie, as well as company and creator that produced the movie. Then, the non-verbal signs consist of shape, appearance, manner activity, background, and color.

Visual Representation in ‘Concept Movie Posters’ Designed by Chinese Artist HuangHai

Visual Representation in ‘Concept Movie Posters’ Designed by Chinese Artist HuangHai

Cognitive and Attitudinal Effects of Movie Poster Making Method in College Classroom

Innovative teaching strategies aligned with the principles of outcomes-based education are necessary for the 21st-century college classroom. The study determined the cognitive and attitudinal effects of movie poster making method among college students. The study employed a pre-test-post-test-one-shot experimental research design while content analysis was used for the qualitative interpretation of data. Sixty-nine third-year teacher education students were the participants of the study. Scores were taken before and after the interventions, and level of significant differences were computed using t-test. Pearson’s r was used to determine the significant relationship between the attitude of the respondents towards the movie poster making method and their achievement in the assessment of student learning test. Results revealed that after the use of the movie poster making activity, the respondents’ scores increased significantly with a more positive learning attitude during the post-test. Furthermore, the study revealed that the attitude of the respondents was not correlated with their learning achievement. From the qualitative analysis, collaboration and cooperation, students’ interest, creativity and critical thinking were the motivational constructs that emerged after the use of the movie poster making activity in the college classroom. This study argues that the use of the movie poster making method is effective in enhancing the students’ content mastery level.

Establishment of Authorship of Movie Poster "Ukraziya. 7+2", 1924

The aim of the research. Establishment of authorship of the well-known Ukrainian movie poster which was created by the unstated artist for a film «Ukraziya. 7+2», produced at the 1-st film studios of the All-Ukrainian photo and cinema management in Odesa. The general aim is liquidation of lacunas in the poster-graphic inheritance of the Ukrainian art of 1920-30th. Methods of research . The research is based on art criticism, historical analysis and the comparative method, using the comparison of mediated documentary evidence and facts of the biography of the Ukrainian cinema artist Anatoly Volodymyrovych Martynov. Scientific novelty. For the first time on the basis of scientific analysis an attempt was made to establish the author of an unidentified Ukrainian movie poster «Ukraziya. 7+2» in 1924. Conclusions . The analysis of the compositional techniques, the graphic stylization of realistic content, the specific modeling of the light waves on the faces and clothes of the characters, and the plane interpretation of the forms in the image of industrial motifs, as well as the comparative study of the characteristics of the applied handwritten fonts and the similarity of letters and numbers proved the high probability of belonging the poster to the creative heritage of the Ukrainian artist of the XX century Anatoly Volodymyrovych Martynov. The assumption is confirmed by the results of historical analysis of the source data of the print sheet, the comparison of the mediated facts of the functioning of the artistic industry in Ukraine at that time, documentary tracking of the biographical data of a possible candidate for authorship of a cinematic work, such as professional artistic education, employment, relations with typography of other republics of the USSR, related to the poster graphic arts activities in the field of «lubok» publishing and series of postcards.

A Framework for Users’ Attitude Prediction Based on Visual Features: Application to Movies Recommendations

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

President's Page

On the walls of our Houston Z-Terra office, we have a lot of movie posters. It's a tradition that started at 3DGeo when our office was across the road from Silicon Graphics, which made computers used for computer generated imagery and which had a lot of movie posters on its walls. We visited Silicon Graphics often for support. We kept the tradition at Z-Terra, and each poster comes from somebody's favorite movies list. One of the posters is from Batman Begins and includes a quote from the movie: “Why do we fall, sir? So that we can learn to pick ourselves up.”

Construção, estratégias e práticas: análise de dois cartazes de “Meia-noite em Paris”

Este trabalho analisa dois cartazes de cinema do filme Meia-Noite em Paris (2011), de Woody Allen. Levamos em conta o conteúdo do filme e a prática que envolve os cartazes de cinema para entender quais são as diferentes estratégias empregadas nos textos analisados, que produzem enunciações bem diferentes tanto no plano do conteúdo quanto no plano da expressão. Tomamos por base o conceito de prática semiótica de Fontanille (2005), descrevendo aquela que envolve os cartazes de cinema. Se, nessa prática, o cartaz objetiva atingir o mesmo perfil de enunciatário do filme que ele apresenta, que estratégias plásticas serão postas em questão para construir esse texto em relação ao filme? Como essas estratégias se relacionam com os gêneros cinematográficos e quais são as reiterações em cartazes que passam a remeter a certo gênero? Os cartazes de Meia-Noite em Paris utilizam essas estratégias ligadas ao gênero em que ele se enquadra? Nossa análise se baseia nas ferramentas da semiótica francesa, especialmente da semiótica plástica, como as categorias cromática, eidética e topológica (Floch, 1985), e o estabelecimento de relações semissimbólicas para responder a essas perguntas e verificar se há identidade entre cartaz e filme e se os perfis de enunciatário de ambos batem.

Uma “tipo/icono/grafia” dinâmica em cartazes de filmes brasileiros

This article has Brazilian movie posters as its object of study and tries to inves gate how they con nue a project that integrate verbal sign and its iconic interfaces, from the origins of the western visual poetry to the recent creative processes in printed media. The reflections intend to demonstrate how this hybrid communicative products explore interchangeable signs between form and sense, words and images, looking for a possible (re)articulation of questions linked to gestalt perception. An intersemiotic reading enphasizes the importance of considering a kind of “typo/icono/graphy” in the language of the contemporary posters, based on Charles Sanders Peirce’s theoretical concepts.

Movie Poster Translation for the Immersion of Audiences through the Control of Informational Entropy

Movie Poster Translation for the Immersion of Audiences through the Control of Informational Entropy

EEG Beta Oscillations in the Temporoparietal Area Related to the Accuracy in Estimating Others' Preference.

Humans often attempt to predict what others prefer based on a narrow slice of experience, called thin-slicing. According to the theoretical bases for how humans can predict the preference of others, one tends to estimate the other's preference using a perceived difference between the other and self. Previous neuroimaging studies have revealed that the network of dorsal medial prefrontal cortex (dmPFC) and right temporoparietal junction (rTPJ) is related to the ability of predicting others' preference. However, it still remains unknown about the temporal patterns of neural activities for others' preference prediction through thin-slicing. To investigate such temporal aspects of neural activities, we investigated human electroencephalography (EEG) recorded during the task of predicting the preference of others while only a facial picture of others was provided. Twenty participants (all female, average age: 21.86) participated in the study. In each trial of the task, participants were shown a picture of either a target person or self for 3 s, followed by the presentation of a movie poster over which participants predicted the target person's preference as liking or disliking. The time-frequency EEG analysis was employed to analyze temporal changes in the amplitudes of brain oscillations. Participants could predict others' preference for movies with accuracy of 56.89 ± 3.16% and 10 out of 20 participants exhibited prediction accuracy higher than a chance level (95% interval). There was a significant difference in the power of the parietal alpha (10~13 Hz) oscillation 0.6~0.8 s after the onset of poster presentation between the cases when participants predicted others' preference and when they reported self-preference (p < 0.05). The power of brain oscillations at any frequency band and time period during the trial did not show a significant correlation with individual prediction accuracy. However, when we measured differences of the power between the trials of predicting other's preference and reporting self-preference, the right temporal beta oscillations 1.6~1.8 s after the onset of facial picture presentation exhibited a significant correlation with individual accuracy. Our results suggest that right temporoparietal beta oscillations may be correlated with one's ability to predict what others prefer with minimal information.