教育学论文 旅游管理 社会学论文广告学论文 MBA论文 会计学论文 媒体学 物流学论文 国际商务管理 金融学论文 计算机网络
返回首页

美国华盛顿大学广告留学生硕士论文定制-航空公司企业品牌社会符号学研究-National pride, global ca

美国华盛顿大学广告留学生硕士论文定制-航空公司企业品牌社会符号学研究-National pride, global capital: a social semiotic analysis of transnational visual branding in the airline industry

C R I S P I N T H U R L OW A N D G I O R G I A A I E L L O
University of Washington, Seattle, USA
A B S T R A C T
In this article we examine 561 different airline tailfin designs as a visualgenre, revealing how the global–local binary may be managed and realizedsemiotically. Our analysis is organized into three strands: (a) a descriptiveanalysis identifies the strikingly restricted visual lexicon and dominantcorporate aesthetic established by tailfin design; (b) an interpretiveanalysisconsiders the communicative strategies at play and the meaning potentialswhich underpin different visual resources; (c) a critical analysis links thesedecisions of design and branding to the political and cultural economies ofglobalism and the airline industry. Specifically, we show how airlines areable to service national identity concerns through the use of highlylocalized visual meanings while also appealing to the meaning systems of
the international market in their pursuit of symbolic and economic capital.One key semiotic resource is the balancing of cultural symbolism and
perceptual iconicity in the form of abstracted stylizations of kinetic effects.Although positioned unfairly in the global semioscape, airlines may resiststraightforward cultural homogenization by strategically reworking existingdesign structures and exploiting possibly universal semiotic meaningpotentials.
K E Y WO R D S
corporate branding • globalization • perception • kinetic stylization • semioscape • social semiotics • universal iconicity

In 1997, at a reported cost of some £60 million (US$120 million), BritishAirways (BA) famously decided to break from its long-established aeroplanelivery based on the red, white and blue of the British national flag bylaunching what was described in the press as ‘a bold global image based noton a single logo but a series of related designs from around the world’.Copyright © 2007 SAGE Publications (Los Angeles, London, New Delhi and Singapore:http://vcj.sagepub.com) /10.1177/1470357207081002
Vol 6(3): 305–344 [1470-3572(200710)6:3; 305–344]
v i s u a l c ommu n i c a t i o n
© 2007 SAGE Publications. All rights reserved. Not for commercial use or unauthorized distribution.
Downloaded from http://vcj.sagepub.com at UNIV WASHINGTON LIBRARIES on September 19, 2007
According to its own publicity, this new World Images branding was intendedto reiterate the airline’s desire to be perceived as ‘global and caring’, and tomanifest its long-standing claim to be the ‘world’s favourite airline’. As partof this rebranding strategy, new tailfin designs featured colorful, ‘ethnic’patterns taken from world-wide arts and crafts, such as Native Americanwood carvings, Japanese calligraphy, German pottery, Scottish tartans andEgyptian wall hangings (see Figure 1b). John Sorrell, one of the two designerswho worked on the World Images concept, stated: ‘Our task was to positionBA as a world brand, the equivalent of Coke or Microsoft, but one which isbased and has its roots in Britain.’What no-one at BA, or the design company commissioned to comeup with the new branding strategy, had predicted was the public criticismand media outcry that would follow this decision by the national ‘flagcarrier’.



------分隔线----------------------------
UK Thesis Base Contacts

24小时在线客服

QQ:77276002

Email:77276002@qq.com

推荐内容