Samenvatting
Summary Text and Image in News and Advertising
A summary of all the articles that are used for the master's course Text and Image in News and Advertising
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Voorbeeld 3 van de 36 pagina's
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Voorbeeld van de inhoud
Summarized articlesAndersen, L. P. (2003). Conceptualising Television Advertising. In F. Hansen & L. B. Christensen
(Eds.), Branding and Advertising (pp. 284-305). Copenhagen: Copenhagen Business
School Press.
Bock, M. A. (2016). Showing versus telling: Comparing online video from newspaper and
television websites. Journalism, 17(4), 493-510.
Kim, K., Lee, S., & Choi, Y. K. (2019). Image proximity in advertising appeals: Spatial distance and
product types. Journal of Business Research 99, 490-497. doi:
10.1016/j.jbusres.2017.08.031
Kress, G.R., and Van Leeuwen, Theo (2006). Reading Images: The Grammar of Visual Design (2nd
ed.). Chapters 2 and 3. London: Taylor & Francis. Available as ebook
at http://ub.vu.nlLinks to an external site..
Kuiken, J., Schuth, A., Spitters, M., & Marx, M. (2017). Effective headlines of newspaper articles in
a digital environment. Digital Journalism, 1-15. doi:10.1080/21670811.2017.1279978
Lagerwerf, L., Timmerman, C., & Bosschaert, A. (2016). Incongruity in news headings: Readers'
choices and resulting cognitions. Journalism Practice, 10(6), 782-804.
Molek-Kozakowska, K. (2013). Towards a pragma-linguistic framework for the study of
sensationalism in news headlines. Discourse & Communication, 7(2), 173-197.
Phillips, B. J., & McQuarrie, E. F. (2004). Beyond visual metaphor: A new typology of visual
Rhetoric in advertising. Marketing theory, 4(1-2), 113-136.
Phillips, B.J. and McQuarrie, E.F. (2014). Visual rhetoric and international advertising. In Cheng,
H. (ed.), The handbook of international advertising research (pp. 238-250). Hoboken, NJ:
John Wiley & Sons Inc. (available via doi:Â 10.1002/9781118378465.ch12).
Powell, T. E., Boomgaarden, H. G., De Swert, K., & de Vreese, C. H. (2015). A clearer picture: The
contribution of visuals and text to framing effects. Journal of Communication, 65(6), 997-
1017.
Šorm, E., & Steen, G. J. (2013). Processing visual metaphor: A study in thinking out
loud. Metaphor and the Social World, 3(1), 1-34.
Sternadori, M. M., & Wise, K. (2010). Men and women read news differently: The effects of story
structure on the cognitive processing of text. Journal of Media Psychology: Theories,
Methods, and Applications, 22(1), 14.
Van Enschot, R., & Hoeken, H. (2015). The occurrence and effects of verbal and visual anchoring
, of tropes on the perceived comprehensibility and liking of TV commercials. Journal of
Advertising, 44(1), 25-36.
Van Mulken, M., van Hooft, A., & Nederstigt, U. (2014). Finding the tipping point: Visual
metaphor and conceptual complexity in advertising. Journal of Advertising, 43(4), 333-
343.
Van Weelden, L., Cozijn, R., Maes, A., & Schilperoord, J. (2010). Perceptual Similarity in Visual
Metaphor Processing. Paper presented at the AAAI Spring Symposium: Cognitive Shape
Processing.
Kress & Van Leeuwen (2006): Narrative Representations: Designing social action
(Chapter 2)
Vector = the contrast between foreground and background
Visual structures = never merely formal they have an important semantic dimension
Participants:
- Interactive = the participants in the act of communication who watch the image
- Represented = the participants who constitute the subject matter of the communication
who are in the image
Represented participants:
- Formal art theory:
o Participants = volumes and masses with a distinct weight or gravitational pull
o Processes = vectors, tensions or dynamic forces
- Functional semiotic theory:
o Actor, goal and recipient
o Transaction = something the actor does to the goal
Analytical structure:
- Carrier and attribute instead of actor and goal
- The way participants fit together to make up a larger whole
- The carrier = represents the whole
- Possessive attributes = represents the parts
Participants in the image:
- Conjoined = when the entities are separated
- Compounded = welded together, still distinct components of the whole
- Fusion = the separate identities of the participants have disappeared
Elongation:
- Vertical = more pronounced distinction between top and bottom
- Horizontal:
o Causes a shape to lean towards the kind of structure in which what is positioned
on the left is presented as ‘given’ = already familiar to the reader
, o What is positioned on the right is presented as ‘new’ = information not yet
known to the reader
Visual processes:
- Narrative:
o When participants are connected by a vector = diagonal line in the image
o Actor = participants from whom or which the vector departs, may be fused with
the vector
- Conceptual = representing participants in terms of their class, structure or meaning
Narrative processes:
- Action processes:
o Transactional = actor vector goal:
Uni-directional = one participant is actor, the other is the goal
Bidirectional:
Each participant playing now the role of actor, now the role of
goal
Not clear if it is simultaneously or in succession
o Non-transactional = actor vector no goal
o Event = no actor vector goal
o Major process = the big action
o Minor process = the smaller action that is embedded in the major process
- Reactional processes:
o Transactional = reacter vector phenomenom
o Non-transactional = reacter vector non phenomenom
- Speech process and mental processes:
o Thought and dialogue balloons in comic strips
o Projective structure = the content or the balloon are not represented directly
- Conversion processes:
o Relay:
Participant who functions both as actor and goal
Vector actor vector goal vector actor
Common in representations of natural events
- Geometrical symbolism:
o Pictorial or abstract patterns as processes
- Circumstances:
o Secondary participants that are related to main participants
o Could be left out without affecting the basic proposition realized by the narrative
pattern
o Sorts of circumstances:
Locative circumstances:
Relate other participants to a specific participant (setting)
Contrast between foreground and background:
o The participants in the foreground overlap and partially
obscure the setting
o The setting is drawn or painted in less detail
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