Master ThesisMaster Thesis

Client: Master's Degree Thesis

2017      

Graphic, Film​​​​​​​

"Comunicare con il segno.Il ruolo degli artefatti visivi nel cinema." Communicate with the sign. The role of visual artifacts in cinema. UNIRSM Master thesis by Alex Alessi. Thesis supervisor Federico Bondi.

Abstract

Abstract

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

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The process graph

The process graph

Since the objects shown in the cinematographic context always serve something, whether they are there by chance or have been specially designed, their purpose can be designated within the text. The proposed graph summarizes the process of analyzing a visual artefact; starting from the onset levels and then defining the function that the artifact has in the film.

Since the objects shown in the cinematographic context always serve something, whether they are there by chance or have been specially designed, their purpose can be designated within the text. The proposed graph summarizes the process of analyzing a visual artefact; starting from the onset levels and then defining the function that the artifact has in the film.
 

Since the objects shown in the cinematographic context always serve something, whether they are there by chance or have been specially designed, their purpose can be designated within the text. The proposed graph summarizes the process of analyzing a visual artefact; starting from the onset levels and then defining the function that the artifact has in the film.

Since the objects shown in the cinematographic context always serve something, whether they are there by chance or have been specially designed, their purpose can be designated within the text. The proposed graph summarizes the process of analyzing a visual artefact; starting from the onset levels and then defining the function that the artifact has in the film.

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