“… the price we pay for peace”: Luba Lukova’s Poster Art
Placed at the crossroads of fine and applied arts, of advertising and reproduction, the poster is a hybrid visual medium which synthetises words and images to communicate its message through both semantic content and aesthetic features. Significantly, the poster’s visual cues are arranged into pa...
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| Format: | Article |
| Language: | English |
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Casa Cărții de Știință
2019-10-01
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| Series: | Cultural Intertexts |
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| Online Access: | https://b00e8ea91c.clvaw-cdnwnd.com/4fb470e8cbb34a32a0dc1701f8d7322d/200000345-4bec54bec7/113-118%20I.%20Mohor-Ivan_M.%20Mohor-Ivan%20-%20%E2%80%9C%E2%80%A6%20the%20price%20we%20pay%20for%20peace%E2%80%9D%20%E2%80%93%20Luba%20Lukova%E2%80%99s%20Poster%20Art.pdf |
| Summary: | Placed at the crossroads of fine and applied arts, of advertising and reproduction, the poster
is a hybrid visual medium which synthetises words and images to communicate its message
through both semantic content and aesthetic features. Significantly, the poster’s visual cues
are arranged into patterns that are powerfully direct and focused, meant to act on and
trigger responses from the potential audience, while, through its manipulation of cultural
codes, generalised meanings and beliefs, they can construct or deconstruct contemporary
‘myths,’ the same as other multimodal texts, like film, may do. Hence, the aim of the paper
is to offer a semiotic analysis of Luba Lukova’s conceptual poster entitled War and Peace in
order to demonstrate how, by means of a simple visual language, her work revisits and
revises the myths of ‘war heroics’ and ‘blissful peace,’ imparting a strong social and
political vision as poignantly and effectively as complex multimodal texts like Michael
Cimino’s ‘The Deer Hunter’, Hal Ashby’s ‘Coming Home’, or Oliver Stone’s ‘Born on the
Fourth of July’ did on the screen. |
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| ISSN: | 2393-0624 2393-1078 |