جستجوی مقالات مرتبط با کلیدواژه "وانموده" در نشریات گروه "علوم اجتماعی"

Baudrillard's theory of simulation of reality in television commercials is a simulation of the third type. From reality, only signs and symptoms are left, and the image hides the absence of reality in them. This research tries to answer the question of what role the concept of pretense plays in Iranian television advertisements by reviewing Baudrillard's philosophy and reading the concept of pretense. Advertising should be able to create the maximum simulation ability by using the signs and symbols of reality in the images to create the pretense and an extreme reality where the line between fantasy and reality becomes distorted and blurred. Based on what Baudrillard says about pretending images, TV teasers and commercials are one of the false facts, which are pretending to be real. In fact, with this method, they hide the lack of reality in the resulting images. The purpose of the research is to determine the structure of a powerful pretense in advertisements and promotional teasers of Iranian TV. The research method will be practical in terms of the goal, and the method of collecting information is a combination of documents, library, reliable internet sources, description, explanation, observation, and review of the commercial advertisements of Iranian TV. The method of analyzing the findings is descriptive-analytical. At first, Baudrillard's concept of pretense, and according to the strategic and important components that Baudrillard expresses in advertisements, examples of Iranian television advertisements are randomly selected and analyzed.

The Introduction of “Computer generated Imagery” or CGI has revolutionized every aspect of motion picture special effects, creating a fantasy world which had never existed. Digital cinema has its own genealogy; giving rise to a system of simulations which is totally believable by audience. This article studies this system of simulations and shows how it came to existence. The main hypothesis is that digital technology paved the way for a world of simulations and these simulations made a system of visual codes. These visual codes sometimes had no real world referents (angels with two long wings for instance) or involved events that were not likely to unfold in front of a camera (like sinking of Titanic).
First, we provide a historical survey of digital cinema and then we can study the importance and effects of this attitude in the contemporary cinema. This article is descriptive and analytic considering documents and studying relevant feature film. Selection of the films was random, mainly based on their effect on cinema when they were released.
The result of this paper shows that a special kind of aesthetic has been created which through its simulations has an impact on audience’s perception. In a sense, thanks to digital cinema, a digital metaphysics has emerged.

This article seeks the hermeneutical (inter-textual) explanation of media representation effect in spatial transformations. Therefore it seeks new spatial entities which are the results of this relationship. In postmodern era، the media are the main actors in identifying and interpreting environmental issues and according to plurality of identities and multiplicity of spatial experience، now we don’t live with spatial dictations rooted in absolutism of Euclidian patterns of space. Uncontrolled fields of media، turmoil and meanings diversity and images in contemporary art and poetics and elegant fantasies، hyper-reality and formation of mass consumption society and signs crisis، are all the results of advertisement and this has led to a crisis of semiotic representation in contemporary city. The article studies the results of technology Gestell from the perspective of Heidegger''s ontology. Therefore it does not refer to the function of discourse and space، but refers to the nature of this discourse.