Tecate anti-gender violence campaign: formal semiological analysis: Análisis Semiológico Formal
This paper shows a practical example for the formal semiological analysis applying the method developed at the Escuela Superior de Artes Visuales in Tijuana, for the object of analysis consisting in an advertisement video for Tecate brand beer, that attempts to fight gender violence; our study probl...
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| Autores principales: | , , |
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| Formato: | Online |
| Lenguaje: | spa |
| Publicado: |
Universidad Autónoma de Baja California
2024
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| Acceso en línea: | https://recit.uabc.mx/index.php/revista/article/view/334 |
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| Sumario: | This paper shows a practical example for the formal semiological analysis applying the method developed at the Escuela Superior de Artes Visuales in Tijuana, for the object of analysis consisting in an advertisement video for Tecate brand beer, that attempts to fight gender violence; our study problem was identifying the semiological factors that lead to the controversy between rejection and acceptance of said advertisement, given that the cause is just and the advertisement won several awards. Fundamental background for this work is the inception arsology as a science around 2001, its publication in 2008, the formalization of the Arsological Research Protocol for art and similar subjects, in 2016; as well as the development of a biological-evolutionary based formal semiology throughout the current century and its formalization with the publication of a manual (2017) and a treatise (2019). This study was conducted according to the methodology proposed at the Semiology for Artists and Designers (Jimenez, 2018) and the theory from where this method is derived (Jiménez, 2019); that in turn result from the seminal work of Rudolf Arnheim (1974) and others on the field of Gestalt, reinterpreted in light of the advances on neurophysiology of visual perception explained in works such as Vision and Art (Livingstone, 2002) or Sensory Perception (Schiffman, 2008); as well as a plethora of works in other fields such as Niko Tinbergen’s in biology –that got him the Nobel prize (1973) or in neurosciences and art perception (Ramachandran & Hirstein, 1999), as well as many others in the fields of neurocognition, neurophysiology of perception, evolutionary ethology and other correlated ones. The exercise starts with the identification of the meanings created by the distribution in the perceptual field’s structural skeleton taking as reference Rudolf Arheim’s theories (1974), it proceeds with those from the spatial organization of figures; then, with the tonal composition of space; the figural interpretation from the neurophysiological principles of chromatic vision and, finally, the symbolic interpretation according to the conventions shared by the given group of people. The results of the work give indication on the possibility that the advertisement in question codifies a message that is different –on a formal level– from the one the concepts intend to convey and that it is to that other implicit message the audience reacted to in an unfavorable way. We conclude that the independence between the formal and symbolic messages is increasingly more evident, as well as the importance of the first in relation to the audience’s response. |
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