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Talking back : = The rhetoric of billboard liberation.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Talking back :/
Reminder of title:	The rhetoric of billboard liberation.
Author:	Skarphol Kaml, Shannon Marie.
Description:	1 online resource (252 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 65-06, Section: A.
Contained By:	Dissertations Abstracts International65-06A.
Subject:	Mass media. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3098625click for full text (PQDT)
ISBN:	9780496462292

Talking back : = The rhetoric of billboard liberation.
Skarphol Kaml, Shannon Marie.

Talking back :The rhetoric of billboard liberation. - 1 online resource (252 pages)

Source: Dissertations Abstracts International, Volume: 65-06, Section: A.

Thesis (Ph.D.)--University of Minnesota, 2003.

Includes bibliographical references

This multi-perspectival interpretive analysis of billboard liberation documents the efforts of billboard liberationists and demonstrates a number of ways that power relations manifested in visual communication contribute to the production of meaning. In order to develop a full understanding of the practice of billboard liberation this study incorporates three interrelated levels of analysis, the organizational, the historical and the textual and employs several data-gathering methods. At the organizational level of analysis the influences of culture jamming and interaction among billboard liberationists are traced to variations in altered billboards. Use of participant observation, interviews and the analysis of written and visual documents produced by liberationists reveal three general personae of billboard liberation: the preacher, the protestor, and the prankster. The second level of analysis, the historical, utilizes documents created by liberationists and historical and contemporary examples of advertising, public service advertising and political cartoons to portray billboard liberation as a response to media monopolization. Comparison between billboard liberation and the development of advertising and public service advertising demonstrate that forms of billboard liberation many of which foreground the rhetorical force behind political cartoons, Burkean perspective by incongruity, are a both an appropriation of the visual language of commercial communication and a revision and expansion of these forms through the inclusion of a wider range of subject matter and viewpoints. The last level of analysis, the textual, uses semiotic analysis to draw paradigmatic and syntagmatic distinctions between liberated billboards and commercial billboards. With the application of de Certeau's notion of poaching these differences are used to demonstrate that billboard liberation can be seen as Duchampianism, a form of modern art. Taken together these three levels of analysis demonstrate that the contextulization of visual communication is a significant factor in the production of meaning. This finding suggests a theoretical model of visual communication that emphasizing context over content and audience interpretation over authorial intention.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780496462292Subjects--Topical Terms:

516793
Mass media.
Subjects--Index Terms:

Billboard liberationIndex Terms--Genre/Form:

542853
Electronic books.

Talking back : = The rhetoric of billboard liberation.
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502 $a Thesis (Ph.D.)--University of Minnesota, 2003.
504 $a Includes bibliographical references
520 $a This multi-perspectival interpretive analysis of billboard liberation documents the efforts of billboard liberationists and demonstrates a number of ways that power relations manifested in visual communication contribute to the production of meaning. In order to develop a full understanding of the practice of billboard liberation this study incorporates three interrelated levels of analysis, the organizational, the historical and the textual and employs several data-gathering methods. At the organizational level of analysis the influences of culture jamming and interaction among billboard liberationists are traced to variations in altered billboards. Use of participant observation, interviews and the analysis of written and visual documents produced by liberationists reveal three general personae of billboard liberation: the preacher, the protestor, and the prankster. The second level of analysis, the historical, utilizes documents created by liberationists and historical and contemporary examples of advertising, public service advertising and political cartoons to portray billboard liberation as a response to media monopolization. Comparison between billboard liberation and the development of advertising and public service advertising demonstrate that forms of billboard liberation many of which foreground the rhetorical force behind political cartoons, Burkean perspective by incongruity, are a both an appropriation of the visual language of commercial communication and a revision and expansion of these forms through the inclusion of a wider range of subject matter and viewpoints. The last level of analysis, the textual, uses semiotic analysis to draw paradigmatic and syntagmatic distinctions between liberated billboards and commercial billboards. With the application of de Certeau's notion of poaching these differences are used to demonstrate that billboard liberation can be seen as Duchampianism, a form of modern art. Taken together these three levels of analysis demonstrate that the contextulization of visual communication is a significant factor in the production of meaning. This finding suggests a theoretical model of visual communication that emphasizing context over content and audience interpretation over authorial intention.
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653 $a Visual communication
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