Ethics of Screenwriting: New Perspectives
Since the advent of digitization, the conceptual confusion surrounding the semantic galaxy that comprises the media and journalism universes has increased. Journalism across several media platforms provides rapidly expanding content and audience engagement that assist in enhancing the journalistic experience. Exploring Transmedia Journalism in the Digital Age provides emerging research on multimedia journalism across various platforms and formats using digital technologies. While highlighting topics, such as immersive journalism, nonfictional narratives, and design practice, this book explores the theoretical and critical approaches to journalism through the lens of various technologies and media platforms. This book is an important resource for scholars, graduate and undergraduate students, and media professionals seeking current research on media expansion and participatory journalism.
This article aims at analyzing objects as signs of filmic aesthetic. Objects acquire several functions in films: Sometimes they are only scene objects or support a particular film style. Some objects are specially chosen to translate the characters’ interior or the directors’s aesthetical or even his ethical commitment with the narrative. In order to understand such functions and commitments this paper analyze objects of Wim Wenders’ films and apply an original systematic, which is based on Peircean semiotics and intermedial studies. This theme involves Cinema and Design, but it also embraces points of view of other disciplines, such as literature studies, history, psychology and sociology.
This volume includes the research articles of the participants of the Annual international scientific-practical conference «Innovations in science and education», which took place in the Educational private institution of higher education «International Jewish Institute of Economics, Finance and Law». The works are devoted to the wide range of topics that were discussed in the following sections of the conference: «Innovations in the field of economics, management and business-informatics», «Actual problems of jurisprudence», «Interdisciplinary cooperation in Jewish studies: from thought to text».
This paper discusses design process as a creative activity along with conceptual correlations of the semiotics developed by Charles Sanders Peirce. The central aim of this paper is to examine one of the most important concepts in Peirce’s theory related to design praxis: the concept of abduction. Abduction is the driving force behind creation and a way of producing new ideas. Peirce’s original concept is fundamental in order to maintain constant commitment to innovation required by design. To transmit messages in a creative way it is more efficient to intensely work with associations by similarity in order to obtain signs rich in information and analogies. Design communicates by all its constituent elements: shape, function, colour, material, technique, technology, etc. Therefore, signs of design share peculiar values of artistic signs as well as those of communicative ones. The associated information is as much aesthetic (shape) as it is semantic (content). The appropriation of Peircean concepts contributes to the understanding of the creative process, which in turn is crucial for understanding new possibilities by means of design.
“Icon”, from Greek word eikón (image), is normally understood as idol, exponent, something representative, notable. In Semiotics from Charles Sanders Peirce (1839-1914), the concept of “icon” is quite particular and it makes reference to a speciﬁc type of sign: one that represents its object through relations of similarity or analogy, taking some of its essential quality. The iconic sign is related to design so far as the icon maintains with its object a relation of quality. The icon, in saying about the object, says something of itself, some of its characteristics are present in the product. The constitution of the icon by the similarity between the demonstrative materialities of the product deﬁnes its formal-aesthetic character of transmitting information. While employing the expression “design icons”, we attempt to refer to both meanings described above. We will mention great names of design in Germany and in Brazil but we will especially think the products of design as objects-icons, i.e. with qualitative characteristics inherent of the icon. We will consider the context of Bauhaus, the school that ﬁrst established design as discipline, passing by its practical and philosophical methods, which inspired design in the world. The article culminates in the approach to the relations that we ﬁnd between the iconic sign and the product of design, as well as to the speciﬁc references to German and Brazilian designers, icons of design.
Many electronic devices operate in a cyclic mode. This should be considered when forecastingreliability indicators at the design stage.The accuracy of the prediction and the planning for the event to ensure reliability depends on correctness of valuation and accounting greatest possiblenumber of factors. That in turn will affect the overall progress of the design and, in the end,result in the quality and competitiveness of products
The article examines the main trends in the study of the Stalinist period and the phenomenon of Stalinism in connection with the mass opening of the archives.