Article
Влияние культуры на визуальную репрезентацию медиабренда: на материале выпусков Vogue 2018 в шести странах
The research is dedicated to the differences in visual representation of global fashion media brand Vogue, that can be reflected through the cultural specifics of the countries included in the study.
The research includes content as well as visual analysis (cover) of the Vogue issues, published in 2018 in six culturally different countries: USA, United Kingdom, Russian Federation, Australia, India and United Arab Emirates.
Within content analysis methodology the number of pages, the sections in issues as well as the amount of advertisement (both local and global) in issues were count.
Visual analysis included the perceived age and race of the model on the cover, the profession of the model as well as her or his pose and gestures. General saturation of covers with text was also evaluated.
As was supposed, the age of the hero on the cover may reflect the general ideas of the «age of active social life» in different counties, as well as it could be an indicator of the «cult of youngness» in some cultures.
We also supposed that Muslim traditions and culture may affect the visual representation of Vogue Arabia, which was shown in the absence of male characters on the cover page, mainly covered bodies on the pictures and lack of local heroes on the covers.
Thirdly, we supposed that the balance (or misbalance) between local and foreign heroes on the cover may be an indicator of the orientation on local or global agenda, as well as that countries with historically strong cultural industries (USA with Hollywood and India with Bollywood) will prefer local heroes on the covers.
Abstract. The paper focuses on fashion bloggers as cultural intermediaries, which taste origins connect different audiences and groups in the fashion industry. Our sample consists of 15 blogs, which were nominated for two major awards for fashion bloggers Bloglovin.com and Stylight.com in 2015. We analyzed 1223 looks they produced for 1 year (brand choices for every look). We created a two-mode network (blogger - brand) and converted it to the one-mode network (brand-brand). The main research question is whether fashion bloggers as cultural intermediates tend to follow professional community and replicate its hierarchies or rebel against it by creating theirs owns. The analysis consists of 2 steps. First, we look at three dimensions of brand combination a) mass-market and haute-couture brands b) brands oriented to male or female audiences c) global and local brands. Second, we apply the association rules algorithm to extract combinations of brands matching with not only by the quantity of coupling but probabilistically explore brand unions.
The article anylizez visual representations of gastronomic culture which extend opportunities practices in modern mass society. New forms of social solidarity on the base of common gastronomic experience emerge and its shows visual channels media and the Internet. Culinary book as a traditional form of gastronomic expert knowledge acquires various visual interpretations. As images of the body, images of the food are verified for conformity to standards of glamor. Consumption of such food is offered as a situational assimilation of marks the most cherished identity, which is represented by a media figure, a celebrity.
This article presents a review of Jenny Lantz’s book The Trendmakers: Behind the Scenes of the Global Fashion Industry. The book engages in a sociological and economic inquiry into trend forecasting in the fashion industry. Trend forecasting is a special kind of business that focuses on predicting future trends in consumers’ taste. Making such decisions usually seems intuitive: In distinguishing between “fashionable” and “unpopular” products, people commonly rely on subjective opinions. Furthermore, the fashion business is an example of extremely turbulent aesthetic goods market in which any forecasting seems difficult. Using the results obtained from nearly one hundred in-depth interviews, Lantz unveils the magic of the trend-hunting business. Referring to classical sociological theories of fashion, including Pierre Bourdieu’s theory of power and symbolic capital, Lantz describes how trend forecasting agencies — including global organizations like WGSN and Trend Union, as well as local companies like Promostyl — achieve legitimacy by working with consultants, buyers, fashion designers, and social influencers. The book reveals that trend forecasting is not about future-telling; rather, it is more about “future-feeling” based on shared perceptions of class, status, and taste. Lantz also provides an insight into developing markets of BRICS countries, including China, Brazil, India, and Russia. Although the section on Russia is quite brief, it contains useful information about big retailers and Russian designers, and it may be useful for further research on the Russian market. The book may attract sociologists, economists, and business students, as well as a wider audience interested in the global fashion industry.
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.
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.
Systems Thinking in Museums explores systems thinking and the practical implication of it using real-life museum examples to illuminate various entry points and stages of implementation and their challenges and opportunities. Its premise is that museums can be better off when they operate as open, dynamic, and learning systems as a whole as opposed to closed, stagnant, and status quo systems that are compartmentalized and hierarchical. This book also suggests ways to incorporate systems thinking based on reflective questions and steps with hopes to encourage museum professionals to employ systems thinking in their own museum. Few books explore theory in practice in meaningful and applicable ways; this book offers to unravel complex theories as applied in everyday practice through examples from national and international museums.