Article
Коммуникативные особенности и конструктивная структура шрифтовой айдентики городов (на примере бренда Мурманска)
The article is devoted to the problem of communicative features of the constructive structure of the font identity in the city branding sphere. This problem is considered in the framework of the nonlinearity of visual communication based on typology, comparative and structural analysis of the font identity of the world's cities. The article analyzes the brand identity of the city of Murmansk (2015) with the use of qualitative research methods: an expert interview with the designer of Murmansk identity.
By analogy with contemporary business practices, nowadays, city managers need to become “residents’ – centric”, as competition for residents and resources increases. The ultimate goal of such an approach is to boost the level of satisfaction with the city. Several researches raised the problem of city satisfaction conceptualization and measurement. To contribute to this discussion, we develop an assessment method, which takes into consideration subjective and situational nature of satisfaction. To test the method we have carried out an empirical research, employing the representative sample of the residents for a large Russian city, Perm. The results allow for the illustration of the cumulative and hierarchical nature of city satisfaction, and, hopefully, contribute both to the theoretical aspects and practicalities of place management.
The article deals with the problem of nonlinearity in the structure of media and aesthetic communication in contemporary visual identity and territorial brand identification. As an element of nonlinearity stand out abstract images, — the visual elements that do not have matching subject in the real environment. The problem of the artistic image is considered in the context of the theory of communication as a key element of shaping visual identification in the field of mass communications and branding.
The concept of city brand equity has caught attention of many marketing scholars, but because of complex nature of cities it remains one of the difficult concepts to quantify. In this article, we develop an approach to measuring city brand equity by evaluating city quality. According to signalling theory, city branding is the signal for consumers that communicates the city quality. The signal credibility creates city brand equity. This cannot be measured directly but can be evaluated through the city quality, which, in turn, represents the ability to fulfil residents’ needs. This study uses the conjoint analysis technique to measure city quality as a driver of consumer-based city brand equity. The approach is applied to the case of city branding campaign in Perm, Russia, to examine the roots of the city’s brand failure and propose the ways to strengthen consumer-based city brand equity.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.
This paper explores, mainly from a legal perspective, the extent to which the Russian regulations of traditional TV and online audiovisual media policies have been consistent with the Council of Europe (hereinafter CoE) standards. The study compares between the CoE and Russian approaches to specific aspects of audiovisual regulation including licensing, media ownership, public service media, digitalization, and national production. The paper first studies the CoE perspective through examining its conventional provisions related to audiovisual media, the case law of the European Court of Human Rights as well as the CoE non-binding documents. The paper then considers Russian national legislation governing audiovisual media and the Russian general jurisdiction courts’ practice on broadcast licensing. The paper suggests that the Russian audiovisual regulations are insufficiently compatible with the CoE standards and more in line with the Soviet regulatory traditions.