The commercial advertisements play a decisive role in the commercial era, and the advertising translation is the main means for the goods to enter the international market. The successful translation of advertisements...The commercial advertisements play a decisive role in the commercial era, and the advertising translation is the main means for the goods to enter the international market. The successful translation of advertisements should pay attention to the accepting reaction of the audience, and the advertising translation should be understood and accepted by the readers, and also should keep pace with the times. In the choice of the translation strategies, we should consider the cultural cognition of the audience and the horizon of the aesthetic expectations, and awaken the readers＇ imagination and desire, so as to achieve the purpose of the promotion of the sales.展开更多
This paper analyzes and attempts to bridge the gap between popular culture＇s aesthetics, popularized by Camille Paglia and her work Sex, Art and American Culture： Essays （1992], and international marketing culture...This paper analyzes and attempts to bridge the gap between popular culture＇s aesthetics, popularized by Camille Paglia and her work Sex, Art and American Culture： Essays （1992], and international marketing culture＇s aesthetics, as described by Schmitt and Simonson （1997）. Popular culture and marketing rarely share the same realm of research. However, these theories start to influence each other, which are especially visible when compared with international marketing as the framework. In order to analyze the gap between popular culture and marketing culture, the author followed a cultural object, Domo-kun, as it entered the US market. Domo-kun gradually changed, including its marketing aesthetics, its significance, and meaning within popular culture after it entered the market. These meaning changes are through the process of commoditization, emotional value, and how they are reinterpreted within cultural frames and reference groups.展开更多
Fashion Film is the last communication tool in fashion market, that was born for the Web about 20 years ago, but in these last 10 years it has increased its diffusion and its expressive potentiality definitely and we ...Fashion Film is the last communication tool in fashion market, that was born for the Web about 20 years ago, but in these last 10 years it has increased its diffusion and its expressive potentiality definitely and we think that it is designed to influence the communication in other markets. Nowadays Fashion Films are reinforcing the power of fashion images, building up new brand experiences for net-consumers： they are painting new worlds for fashion brands thanks to the old cinematographic language mixed to recent Internet logics. Starting from this observation, our main question was： Can we talk about a new fashion net-aesthetics for these new fashion tales？ Using a semiotics approach, this study investigates how Fashion, Cinema and the Net come together, producing new aesthetics, with new languages and new imaginary in fashion. The result can be really visionary.展开更多
文摘The commercial advertisements play a decisive role in the commercial era, and the advertising translation is the main means for the goods to enter the international market. The successful translation of advertisements should pay attention to the accepting reaction of the audience, and the advertising translation should be understood and accepted by the readers, and also should keep pace with the times. In the choice of the translation strategies, we should consider the cultural cognition of the audience and the horizon of the aesthetic expectations, and awaken the readers＇ imagination and desire, so as to achieve the purpose of the promotion of the sales.
文摘This paper analyzes and attempts to bridge the gap between popular culture＇s aesthetics, popularized by Camille Paglia and her work Sex, Art and American Culture： Essays （1992], and international marketing culture＇s aesthetics, as described by Schmitt and Simonson （1997）. Popular culture and marketing rarely share the same realm of research. However, these theories start to influence each other, which are especially visible when compared with international marketing as the framework. In order to analyze the gap between popular culture and marketing culture, the author followed a cultural object, Domo-kun, as it entered the US market. Domo-kun gradually changed, including its marketing aesthetics, its significance, and meaning within popular culture after it entered the market. These meaning changes are through the process of commoditization, emotional value, and how they are reinterpreted within cultural frames and reference groups.
文摘Fashion Film is the last communication tool in fashion market, that was born for the Web about 20 years ago, but in these last 10 years it has increased its diffusion and its expressive potentiality definitely and we think that it is designed to influence the communication in other markets. Nowadays Fashion Films are reinforcing the power of fashion images, building up new brand experiences for net-consumers： they are painting new worlds for fashion brands thanks to the old cinematographic language mixed to recent Internet logics. Starting from this observation, our main question was： Can we talk about a new fashion net-aesthetics for these new fashion tales？ Using a semiotics approach, this study investigates how Fashion, Cinema and the Net come together, producing new aesthetics, with new languages and new imaginary in fashion. The result can be really visionary.
