Audiovisual Storytelling and Ideological Horizons : Audiences, Cultural Contexts and Extra-textual Meaning Making

Abstract: Audiovisual Storytelling and Ideological Horizons: Audiences, Cultural Contexts and Extra-textual Meaning Making In a society characterized by mediatization people are to an increasing degree dependent on mediated narratives as a primary means by which we make sense of our experience through time and our place in society (Hoover 2006, Lynch 2007, Hjarvard 2008, Hjarvard & Lövheim 2012). American media scholar Stewart Hoover points to symbols and scripts available in the media environment, what he call the “symbolic inventory” out of which individuals make religious or spiritual meaning (Hoover 2006: 55). Vernacular meaning-making embedded in everyday life among viewers’ dealing with fiction narratives in films and tv-series highlight a need for a more nuanced understanding of complex audiovisual storytelling. Moving images provide individuals with stories by which reality is maintained and by which humans construct ordered micro-universes for themselves using film as a resource for moral assessment and ideological judgments about life (Plantinga 2009, Johnston 2010, Axelson 2015). Important in this theoretical context are perspectives on viewers’ moral frameworks (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Avila 2007).This paper presentation will focus on ideological contested meaning making where audiences of different cultural background engage emotionally with filmic narratives, possibly eliciting ideological and spiritual meaning-making related to viewers’ personal world views. Through the example of the Homeland tv-series I want to discuss how spectators’ cultural, religious, political and ideological identities could be understood playing a role in the interpretative process of decoding content. Is it possible to trace patterns of different receptions of the multilayered and ambiguous story depicted in Homeland by religiously engaged Christians and Moslems as well as non-believers, in America, Europe and Middle East? How is the fiction narrative dealt with by spectators in the audience in different cultural contexts and how is it interpreted through the process of extra-text evaluation and real world2understanding in a global era preoccupied with war on terror? The presentation will also discuss methodological considerations about how to reach out to audiences anchored in different cultural context.

Varumärkning för småföretag

In this degree project a study of the importance of a graphic identity to companies has been done. A questionnaire among small companies in Dalarna has beenmade. From this, three sets of graphic profile-program have been formed andthese are suitable for new companies. Finally a practical application has been made on Greenfield in Mora, a graphic profile has been designed.To cause an identity is to prove that someone or something exists by individualizingand distinguish. Every individual or company has its qualities or charasteristics.The way to a desirable identity is going by a corporate identity-program that containsthe companies strategies, people, products, buildings, trademarks, graphic design. To create an identity a well considered strategy is needed, where all members of the company are involved. This will lead to a positive image and means for an efficient market communication. The identity of the company is that the company wish what the company/product will stand for, but the image is what the market think about the company/product. The surrounding worldwill be convinced that the company is a reliable producer or deliverer. The companyvill also be regarded as useful and responsable, profitable as an object or partner and a good place of work.Today, trademarking is the most important carrier of identity for a company. A trademark, like a word, a picture or a slogan, will distinguish a product from theothers. What is needed to build up a strong trademark? How can a trade markbe developed to an advantage?To get a lot of people in the same direction clear guidlines are needed. Usually you focused on graphic design, especially the symbols and marks of the companies.The results are presented on a graphic profile, documented in a graphic manual.

Förlåtelse, försoning och oförsonlighet i överlevandes berättelser efter kriget i Bosnien

Forgiveness, reconciliation and implacability in narratives of survivors after the war in Bosnia and Herzegovina In this article I analyze verbally portrayed experiences of 27 survivors from the 1990s’ war in Bosnia and Herzegovina. One aim of the article is to analyze markers for reconciliation and implacability, the second is to describe the terms for reconciliation which are actualized in those stories. The interactive dynamics, which occurred during the war, make the post-war reconciliation wartime associated. Narratives about reconciliation, implacability and terms for reconciliation, are not only formed in relation to the war as a whole but also in relation to one’s own and others’ wartime actions. The narratives about reconciliation become an arena in which we and them are played against each other in different ways – not least by rejecting the others’ acts during the war. In the interviewees stories implacability is predominant but reconciliation is presented as a possibility if certain conditions are met. These conditions are, for instance, justice for war victims, perpetrators’ recognition of crime and perpetrators’ emotional commitment (for example the display of remorse and shame).

The Ideological Transformation of the Icon Chairman Mao during the Four Modernisations period : As illustrated by "Melody of Youth, Beautiful Soul"

After Chairman Mao's death, in the late 1980's, Mao was removed from official government communications and his iconography transformed from having a specific meaning generation role linked to Maoist ideology, to becoming available for use as a commodity. In this research I use cultural theorist Jacques Derrida's theory of Hauntology and the deconstruction method to analyse a representative Chinese Propaganda poster, "Melody of Youth, Beautiful Soul", in order to ascertain the effect Mao's death had on the Iconography of Chairman Mao, and how Mao is ideologically transformed during this period. Analysing the painting I found specific symbols associated with the iconography of Mao that had been adopted and transformed for the purposes of the CCP. These symbols both suggested the presence of Chairman Mao, as well as negated that presence through being co-opted for other purposes. Using these symbols and writings about the period I deduced that during this period the CCP had to rely on existing symbols of power and authority in order to communicate and legitimise regime change whilst maintaining the semblance of continuity. At the same time they had to decouple these symbols from their original meanings in order to distance themselves from the past and redefine the ideology of China. In the process, Mao's iconography was decoupled from its Maoist ideological heritage and transformed into abstract symbols of power, doctrine and so on. This means that the transformation had made them available to use as an "open basket" into which new, related meanings could be placed – including serving as a commodity.