دانلود رایگان مقاله هوش فضایی بصری در تبلیغ و گفتگوی روابط عمومی: موردی از روبرتو روسلینی در دوران آموزشی و مطالعات تاریخی

عنوان فارسی
هوش فضایی بصری در تبلیغ و گفتگوی روابط عمومی: موردی از روبرتو روسلینی در دوران آموزشی و مطالعات تاريخي
عنوان انگلیسی
Visual-spatial intelligence in propaganda and public relations discourse: The case of Roberto Rossellini’s early and educational-historical films
صفحات مقاله فارسی
0
صفحات مقاله انگلیسی
10
سال انتشار
2015
فرمت مقاله انگلیسی
PDF
نشریه
الزویر - Elsevier
کد محصول
E4866
دانشگاه
گروه تاریخ هنر، دانشگاه گیرونا، اسپانیا
رشته های مرتبط با این مقاله
علوم ارتباطات اجتماعی
کلمات کلیدی
رابرت روسلینی، هوش فضایی بصری، فیلم های روابط عمومی، فیلم تبلیغاتی
گرایش های مرتبط با این مقاله
روابط عمومی
مجله
بررسی روابط عمومی - Public Relations Review
چکیده

abstract

 

The aim of this paper is to analyze two of the least known periods of Italian director RobertoRossellini’s career – the fascist trilogy and his educational project for TV – as a paradigm of visual-spatialintelligence, and show their contribution to the construction of a theory of film discourse in publicrelations. Regarding the fascist period, what stands outis the unique, anti-propaganda staging, a far cryfrom the fascist cinema ofthe age, and more characteristic of documentary cinema. By contrast,thefilms thatform part of his educational project make them public relations techniques in the termsunderstood by filmmakers from the British documentary movement and PR practitioners like JohnGrierson. In those films, in order to achieve his purposes, Rossellini created a zoom lens device namedPancinor that can be considered a mechanism of visual-spatial intelligence as well as a public relationsaudiovisual technique.

نتیجه گیری

7. Discussion and conclusions

 

According to Gallagher (1998), Rossellini and John Grierson were mutual admirers and had occasion to meet in Canada in 1960. This is not surprising, as, although they each developed a unique style, the two filmmakers had common influences (such as the Russian filmmaker Sergei M. Eisenstein, an influence recognized by Grierson and evident in the opening minutes of La nave bianca) and shared the same principles (Caminati, 2012).


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