Where have all the children gone? A visual semiotic account of advertisements for fashion dolls

Almeida, Danielle Barbosa Lins de

doi:10.1177/1470357209343374

Cited by 14 publications

(4 citation statements)

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“…In addition, there are a few discursive studies that concentrate on the linguistic representation of topics related to immigrant minors (Almeida, 2009; Berman, 2000; Cheong and Halverson, 2010; Faucher, 2009; Hester and Hester, 2010; Nippold and Scott, 2010). However, the study of the visual representation of immigrant minors has been neglected, thus the focus in the present article on such visual representation.…”

Section: Literature Reviewmentioning

confidence: 99%

Exploring visual dysphemisms in pieces of news related to immigrant minors in a Spanish newspaper

Martínez-Lirola

2014

Visual Communication

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This article describes the main visual characteristics used in different multimodal pieces of news related to immigrant minors in the newspaper El País, which is one of the most important newspapers in Spain. The corpus of examples consists of all the pieces of news dealing with immigrant children published from 1 January 2011 to 31 December 2011. For the framework of analysis, the study draws on visual grammar and critical discourse analysis. The study reveals that immigrant minors are represented dysphemistically in the multimodal texts analysed so that the most pejorative side of their reality is portrayed. The author thus aims to provide a visual analysis of the way in which immigrant minors are represented visually in a serious Spanish newspaper. In doing so, she aims to show visual ways of manipulation and reinforcing of stereotypes related to immigrants, in general, and immigrant minors in particular.

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Section: Literature Reviewmentioning

confidence: 99%

Exploring visual dysphemisms in pieces of news related to immigrant minors in a Spanish newspaper

Martínez-Lirola

2014

Visual Communication

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“…Seus interesses acadêmicos atuais estão centrados no discurso de brinquedos contemporâneos, novas tecnologias midiáticas e a cultura do brincar, tanto do ponto de vista linguístico quanto sociocultural. Coordena Almeida (2006;2009;2014; evidenciam que os brinquedos vão além da sua função de entretenimento, podendo ser analisados como textos, por serem fontes de conhecimentos culturais, atores sociais de gênero e representantes da realidade.…”

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Brinquedos Como Representação Social E De Gênero Na Infância: A Ressignificação Do Conceito De Família

Soares

Almeida²

2018

DCEE

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No mundo contemporâneo atual, caracterizado por discussões que trazem à baila a natureza multifacetada e multirracial da sociedade, a representatividade nos brinquedos ainda se mostra como algo incomum (ALMEIDA, 2017). Para nossa pesquisa, consideraremos os brinquedos como representações semióticas, no sentido de que eles significam a sociedade, refletindo seus papéis, tecnologias, identidades e práticas (CALDAS-COULTHARD; van LEEUWEN, 2002). Brinquedos como a coleção MyFamilyBuilders©, na qual é possível, através de várias peças, construir famílias com gêneros, etnias e características diversificadas, propõem ao mercado dos brinquedos expor uma realidade percebida socialmente. Destarte, consideraremos como objeto de análise a coleção de brinquedos MyFamilyBuilders©, focando em seus aspectos multimodais e trazendo à tona temas relevantes como representatividade e diversidade. Para tal, utilizaremos a Gramática do Design Visual de Kress & Van Leeuwen (1996;2006) e suas metafunções representacionais, interacionais e composicionais. Os resultados da análise das imagens do brinquedo apontam para uma representação da família que foge do conceito de família nuclear e abraça a diversidade da família contemporânea, impactando no atual cenário dos brinquedos. Palavras-chave: Brinquedos; Multimodalidade; Representatividade; Família.

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“…The next section discusses the characteristics and functions of perspective in advertising hotel facilities and services. (2014), Almeida (2009), Kress and van Leeuwen (2006), and Unsworth (2001) propose that a vertical angle (i.e., high, low or eye level) represents a power differential between RPs and viewers. The position where a camera is placed in relation to the characters can influence the way the viewers perceive them.…”

Section: Gazementioning

confidence: 99%

A Comparative Genre Analysis of Boutique Hotel Webpages in Thailand and New Zealand

Leelertphan¹

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<p>This study analyses the characteristics of boutique hotel websites in Thailand and New Zealand as a genre. The study has four main objectives: 1) to identify moves and steps of English boutique hotel websites in Thailand and New Zealand, 2) to examine visual images presented on boutique hotel websites in Thailand and New Zealand, 3) to compare and contrast the move structures and visual images of these websites, and 4) to explore contextual factors which influence the variation between move structures and the representation of visual images of these websites. Despite the increasing popularity of boutique hotels, there exists almost no research analysing these webpages as a genre. While studies have presented a general overview of the appearance and the popularity of the boutique hotel phenomenon, textual and visual analysis of boutique hotels remains under-investigated. Moreover, cross-cultural studies of hotel webpages are also limited. Bhatia’s (1993) and Kress and van Leeuwen’s (2006) frameworks were adopted to investigateand analyse the genre of boutique hotel webpages. Bhatia’s (1993) model was used to explore textual and ethnographic perspectives. Kress and van Leeuwen’s (2006) visual analysis model was adopted to examine the ways in which visual images are depicted and organised in these hotel online advertisements. In addition to textual and visual analysis, interviews with hotel owners, managers, web designers, and web audiences were conducted. The purpose of these interviews was to explore the intentions and practices influencing the shape of the design and organisation of the hotel websites as a genre. Finally, using the frameworks of Bhatia (1993) and Kress and van Leeuwen (2006), the analysis of move structures and the visual design between the hotel webpages in the Thai and New Zealand datasets were compared. This analysis shows minor variations across the two datasets in both textual and visual elements. The differences in terms of move structures between these two cultures are subtle, conforming to the same conventionality inherent within the respective genre, as it connects to their social context and functions. Consequently, my analysis opposes the notion that genre is cultural, proposed by Crossley (2007); Hyland (2000); and Mauranen (1993). In regards to register analysis, the web designers in both cultures used similar distinctive lexico-grammatical features to persuade and engage the web audiences such as the personal pronoun you and we, imperatives, adjectives. Only the use of adjectives exhibits major differences, which reflects the uniqueness in a provision of services and facilities within these two countries. This study posits that the influential factors responsible for variation between these two datasets are a result of how the websites market their hotels and how the hotels operate. However, the interview data with the hotel owners and web designers did not clearly illustrate how they establish generic conventions and develop distinctive lexico-grammatical features. My participants suggested that they used their intuition or consulted other hotel webpages, in which they share a similar theme or concept when they developing their webpages. In regards to the visual representation, the findings show that the depiction of the visual elements across the two countries generally does not differ. Rather, they seem to be reflect a homogeneous genre because they conform to the same practices. That is to say, the designs of thehotel webpages have their own integrity, in which the web designers usually follow. From a genre perspective, these similarities in terms of a representation of move structures and visual images between these two cultures are seen as either a recurring situation or reproduction of generic conventions of a particular genre, which is considered as a social action within a discourse community.</p>

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Where have all the children gone? A visual semiotic account of advertisements for fashion dolls

Cited by 14 publications

References 1 publication

Exploring visual dysphemisms in pieces of news related to immigrant minors in a Spanish newspaper

Exploring visual dysphemisms in pieces of news related to immigrant minors in a Spanish newspaper

Brinquedos Como Representação Social E De Gênero Na Infância: A Ressignificação Do Conceito De Família

A Comparative Genre Analysis of Boutique Hotel Webpages in Thailand and New Zealand

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