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Tugba Batuhan
Furthermore, the feminist art history movement
deals with her work, especially her
autobiographical painting and the style and the site of confession that relates to the politics.
Self-portraits accomplish political art and literature as well as feminist art practice (Dexter,
2005). Baddeley and Fraser (1989) mention that her achievement in integrating popular art
and modernist innovation was because of this “elision of the difference between the personal
and the political which allowed her to identify her concerns as
a woman with those of
Mexico’s peasantry”(p. 122).
Post-revolutionary ideas are parallel to Frida Kahlo’s paintings such as between
customs and change, and between national and supranational interests (Schaefer, 1992).
Between the 1920’s and 1940’s, care for the abused and seeking
la mexicanidad or
lo
mexicano were important
issues in political, social, and art structure as well as the
involvement of women in political and social awareness. Frida’s life was changed by the
accident and the second crash was Rivera himself. Her life became paralleled with her love
and her suffering. She did not break up with Rivera completely in
her entire life despite the
fact that he cheated on her. Even though, Frida is an egalitarian woman, she might have
wanted to be protected by a man and feel belonging to someone in such a land.
Due to her
family roots being a mix of different cultures, Rivera might have been the one homeland she
felt that she could belong to.
6. References
Ankori, Gannit. (2005). “Frida Kahlo: The Fabric of Her Art.” In
Frida Kahlo, edited by.
Emma Dexter and
Tanya Barson, 31-46. Tate Publishing
Baddeley, Oriana and Valerie Fraser. (1989).
Drawing the Line: Art and Cultural Identity
in Contemporary Latin America. New York: Verso.
Barson, Tanya. (2005). “All Art is at Once Surface and Symbol: A Frida Kahlo
Glossary.” In
Frida Kahlo, edited by Emma Dexter and Tanya Barson, 55-79.
Tate Publishing.
Conde, Teresa del. (2008). “Frida Kahlo: Her Look.” in
Self Portrait in a Velvet Dress,
edited by Denise Rosenzweig and Magdalena Rosenzweig, 27-50. San Francisco:
Chronicle Books.
Dexter, Emma. (2005). “The Universal Dialectics of Frida Kahlo.” In
Frida Kahlo, edited
by Emma Dexter and Tanya Barson, 11-30. Tate Publishing.
Herrara, Hayden. (1991).
Frida Kalho: The Paintings. New York: Harper Collins
Publishers.
Høholt, Stine. (2013). “Performing Herself Through Art.” In
Frida Kahlo : A life in Art,
12-265. Hatje Cantz.
Matuta, Laura González. (2013). “Frida Kahlo: A Different View On Mexican Art.” In
Frida Kahlo : A life in Art, 42-55. Hatje Cantz.
Schaefer, Claudia. (1992).
Textured Lives: Women, Art, and Representation in Modern
Mexico. Tuscon: The University of Arizona Press.
The Semiotics Analysis Of Film The Commercial “Doritos”
Feryal Günal, Zafer Tural
Introductıon
In the progress of media, free market economy and enhancing competition, which gets much
crueler, play a big role. The basic material source of media such as television and radio are
commercials. The emergence and spreading of the concept “commercial” began in the first
half of the 19th century where written material could be produced cheaply. “Commercial”
which we may define roughly as the introduction of a product transcends today the
introduction of a product and becomes a mechanism which makes the product more desirable
among other products, which enables the product to be re-used where the consumer believes
that his/her needs, which have nothing to do with the product, are fulfilled, moreover it has a
broad spectrum of functions which make him/her need even he/she does not need. And the
methods in fulfilling these functions of commercials are developed considerably first of all
due to communication and solid relations it builds with the discipline.
Commercial film establishes symbolic ties between the habits of the consumer and
his/her life styles. This study is an analysis of the symbolic language of the chosen
commercial film. According to Stevenson there is no difference between encoder and decoder
in a semiological analysis. The interpreter (reader) is a mental concept, which describes the
user of the sign. Decoding is an activity as creative as encoding (Stevenson 2002, s.42).
Ferdinand de Saussure’s
Course in General Linguistics, which was published in 1916 and
Charles Sanders Peirce’s writings are two important sources, which semiotics bases on.
“Semiotics” was first used in John Locke’s "Essays Concerning Human Understanding"
(1690) in the sense we use it today (Berger 2004, s.3). The most famous representatives are
Roland Barthes, Umberto Eco and Mikhail Bakhtin. Code, culture, diachronical /synchronical,
receiver/transmitter,
sign/signified/signifier,
mediation,
ideology/discourse
reference/presentation, primary meaning/secondary meaning, intertextuality/intermediation,
inferring/interpreting, icon/index/symbol are basic concepts of semiology (Irvine, 2005).
Saussure’s structural linguistics theory and semiology, evolved thereafter, are the basic
methods of this commercial film analysis. Besides these some signs are analyzed with a
diachronical approach.
Name of the Product: Doritos / Fritos Shots
This commercial film is about chips, which introduces the product “Fritos Shots”, one
of the new products broadcasted within an ad series established around the concept “Doritos
Academy”. This commercial film for this new product consists of two parts. First part gives
the information that the firm Doritos launches a new product and that for the presentation of
this product a new model would come, but it does not publicize the model and the product in
order to arouse curiosity. On the other hand, the main commercial film where the product and
the model show up is the second part.
The Fıctıon Of The Fılm
I.Part