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  1. A methodological framework for projecting brand equity: Putting back the imaginary into brand knowledge structures.George Rossolatos - 2014 - Sign Systems Studies 42 (1):98-136.
    The aim of this paper is to outline a methodological framework for brand equity planning with structuralist rhetorical semiotics. By drawing on the connectionistconceptual model of the brand generative trajectory of signification it will be displayed in a stepwise fashion how a set of nuclear semes and classemes or anintended semic structure that underlies manifest discursive structures may be projected by its internal stakeholders with view to attaining differential brand associations. The suggested methodological framework focuses on the strength and uniqueness (...)
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  • Reality, Fiction, and Make-Believe in Kendall Walton.Emanuele Arielli - 2021 - In Krešimir Purgar (ed.), The Palgrave Handbook of Image Studies. Palgrave-Macmillan. pp. 363-377.
    Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...)
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  • El retrato del doble: sobre los lenguajes del cine y el teatro.Carmen Pérez Ríu - 2010 - Arbor 186 (741):59-68.
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  • The structural semiotics paradigm for marketing research: Theory, methodology, and case analysis.Laura R. Oswald - 2015 - Semiotica 2015 (205):115-148.
    Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 205 Seiten: 115-148.
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  • Modernity and the Hegemony of Vision.David Michael Levin (ed.) - 1993 - University of California Press.
    This collection of original essays by preeminent interpreters of continental philosophy explores the question of whether Western thought and culture have been dominated by a vision-centered paradigm of knowledge, ethics, and power. It focuses on the character of vision in modern philosophy and on arguments for and against the view that contemporary life and thought are distinctively "ocularcentric." The authors examine these ideas in the context of the history of philosophy and consider the character of visual discourse in the writings (...)
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  • Reclaiming the Body of the ‘Hottentot’: The Vision and Visuality of the Body Speaking with Vengeance in Venus Hottentot 2000.Priscilla Netto - 2005 - European Journal of Women's Studies 12 (2):149-163.
    The primary focus of this article is a reading of Venus Hottentot 2000, a performance-text that reperforms the hyperbolization of Black female sexuality. In using the corporeality of the Black body as a strategic site of postcolonial resignification, this performance is moreover an interrogation of the colonial gaze that has fetishized the Black body. In foregrounding Venus Hottentot 2000 as a point of departure for exploration, the article proceeds by delving broadly into the representational history of the ‘Hottentot’ female. Furthermore, (...)
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  • Bedroom Horror: The Fatal Attraction of Intercourse.Mandy Merck - 1988 - Feminist Review 30 (1):89-103.
    A radical polemic like Intercourse and a Hollywood hit like Fatal Attraction may seem bizarre objects of comparison. Where Andrea Dworkin's study outraged male reviewers, Adrian Lyne's film infuriated their feminist counterparts. But despite the political differences, the two contemporary projects offer a surprisingly similar vision of sex.
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  • Is there an indian way of filmmaking?Philip Lutgendorf - 2006 - International Journal of Hindu Studies 10 (3):227-256.
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  • Noël Carroll.Maisie Knew - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. New York: Routledge. pp. 196.
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  • 5. Sartre, Merleau-Ponty, and the Search for a New Ontology of Sight.Martin Jay - 1993 - In David Michael Levin (ed.), Modernity and the Hegemony of Vision. University of California Press. pp. 143-185.
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  • Secret agents: Feminist theories of women’s film authorship.Catherine Grant - 2001 - Feminist Theory 2 (1):113-130.
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