This thesis establishes why the Shell Oil Company produced a series of seventy-one posters of the British landscape in the 1930s. Through an examination of the 76 cm. x 114cm. posters that were attached to the sides and backs of the company’s delivery lorries, the thesis determines why Shell chose this form of publicity. The thesis examines the posters as historical, if ephemeral, artefacts and analyses the social, economic and cultural context of their production. Whilst there has been some historical analysis of poster design within the field of design history, the significance of the poster within these contexts has been largely neglected. The unique hybrid nature of the Shell posters as advertising based upon fine art using over fifty artists and designers makes them a unique repository of British visual culture of the 1930s. This thesis describes how Shell created three landscape poster campaigns, not through the enlightened patronage of its publicity manager, Jack Beddington, but through a complex set of circumstances that included: the cartel that was formed by the oil companies supplying Britain; the development and encouragement of motoring tourism and its effect on the countryside; the middle-class rejection of working class holiday destinations; concern about the preservation of the countryside; the effect of the ‘slump’ on the working lives of artists; economic and aesthetic arguments about the relationship between fine and commercial art and the relationship between landscape and national identity. Chapter 1 explores the background and influences that led to the creation of the posters, including the precursors of Beddington and the development of the poster as a medium. Chapter 2 investigates the inter-war debate that exposed the uneasy relationship between fine art, commercial art and industry. Chapter 3 investigates the concept of ‘place’ and uses case studies of places Shell wished to portray as destinations. Chapter 4 examines, through case studies, how the landscape, as portrayed by the posters, is represented for tourists and also the posters’ function within tourism.

Despite the emergence of historical scholarship concerning masculinity in the past two decades, historians have largely failed to examine masculinity during either of the two World Wars. This thesis examines the use of masculinity within a selection of posters that the British government's Parliamentary Recruitment Committee produced during their preconscription period in World War I (1914-1915). Using a visual template to deconstruct the designs and messages of the selected posters, the thesis contends that the posters incorporated familiar prewar masculine images and ideas in order to lure potential recruits into the British army. The posters' use of prewar masculine ideology also contributed to their idyllic presentation of war, which differed significantly from the actual experiences of British soldiers. In addition to poster analysis, this thesis examines how British boys became familiar with "militaristic masculinity" in the prewar period, as well as the modern poster and its prominent role within the PRC campaign. / Department of History

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (leaves 298-306). / Posters are public inscriptions with strong roots in the development of graphic technology. They play an integral role in the development of graphic design. Current ideas about poster design are discussed to establish why and how recent technological possibilities may change our concept of the poster or alter the poster design process. Exercises in poster design using recent technological advances provide a demonstration of the nature of these changes and the potential they suggest. / by Nathan Immanuel Felde. / M.S.V.S.

Thesis (M.A.)--Cleveland State University, 2008. / Abstract. Title from PDF t.p. (viewed on July 9, 2008). Includes bibliographical references (p. 67-69). Available online via the OhioLINK ETD Center. Also available in print.

Thesis (M.F.A.)--Rochester Institute of Technology, 1995. / Typescript. Bibliography: leaves 35-38.

abstract: This study examines transnational connections between art as advertising and the tourism industry. The development of railroads, and later airlines, played a crucial role in the growth of travel. Art posters supported this expansion. By the mid-twentieth century, art posters gained wide acceptance for encouraging leisure travel. Posters and paintings were constructed by artists to visualize destinations, underscoring the social status and modern convenience of tourism. This thesis describes how advertising, as an aspect of popular visual culture, offered compelling parallels to stylistic developments in modern art. / Dissertation/Thesis / M.F.A. Art History 2013

Exposición de los trabajos de investigación más destacados del ciclo 2021-2, por los alumnos de la Facultad de Administración en Hotelería y Turismo.

Poster campaigns have been studied before but never in relation to perceived safety culture. Virtual reality was used to study how safety signage, or lack thereof, affects peoples’ perception of a company’s priority of safety, safety awareness, safety culture, and their own perception of how safe they feel or think a coworker would feel in the environment. There were four virtual scenes used – No Signage, Safety Signs, Safety Posters, and Safety Posters + Safety Signs. The four environments were similar regarding objects, colors, and size; however, the signage on the walls differed in each. Statistical significance was found for each of the five dependent variables tested. Participants scored the scenes using a ten-question survey given after seeing each environment. The results confirm the original hypothesis that safety posters increase the perceived safety culture in an industrial site environment, compared to no signage or only safety signs.

The purpose of this thesis is to examine ten movie posters while hypothesizing whether or not their tagline texts could interest a reader. A linguistic framework Relevance Theory, is used in the analysis of this project.

Esta pesquisa objetiva analisar as representações dos imaginários políticos argentinos durante os anos de 1973 e 1984, por meio dos cartazes de propaganda produzidos no período. Estes anos selecionam um período conturbado da história argentina, o governo peronista (1973) e o governo militar do Processo de Reorganização Nacional (1976-1983), em que as posições políticas se acirram em nome de projetos para a nação e, após a violenta e sistemática repressão da ditadura provocou mudanças sensíveis na forma de atuação política. A escolha do cartaz como fonte para a análise desta pesquisa histórica de dá por este se configurar como um veículo de difusão e circulação de mensagens de caráter efêmero, mas que possui potencial para atingir um grande número de pessoas. Essa fonte compõe um elemento rico em representações dos imaginários políticos, sobre as visões e concepções de futuro e das críticas e anseios que seus grupos elaboradores desejavam divulgar para um grande público. As fontes visuais possibilitam um sem número de inferências, mobilizam elementos simbólicos, culturais, políticos, históricos, nacionais e universais, sempre partilhando com seu observador as referências representacionais para, enfim, cumprir seu papel de comunicar uma mensagem idealizada por seus realizadores. Nesta pesquisa, a análise dos cartazes procura revisitar um período conturbado da história argentina e, por meios destes, reconstruir parte do imaginário político do período. / This research aims to analyze the representations of imaginary Argentine politicians during the years 1973 and 1984, by means of propaganda posters produced in the period. These years select a turbulent period in Argentine history, the Peronist government (1973) and the military government of the National Reorganization Process (1976-1983), in which the political positions is stoked on behalf of projects for the nation and, after violent and systematic repression of the dictatorship generated sensible changes in the form of political action. The choice of the poster as a source for analysis of historical research gives for this is set up as a vehicle for the dissemination and circulation of messages ephemeral, but which has the potential to reach large numbers of people. This source comprises an element rich representations of the political imaginary, the visions and conceptions of the future and criticisms and concerns that their groups drafters wished to disseminate to a wide audience. Visual sources allow any number of inferences, mobilize symbolic elements, cultural, political, historical, national and universal, always sharing with its observer representational references to finally fulfill its role of communicating a message designed by their makers. In this research, the analysis of the posters attempts to revisit a period of Argentine history and troubled by these means, to rebuild part of the political imaginary of the period.