Na história dos meios visuais de comunicação de massa, o cartaz desempenha um papel importante no contexto das sociedades urbanas, mantendo um status privilegiado e duradouro na história da publicidade, das artes gráficas e do design. Desde seu surgimento, no séc. XIX , o cartaz dialoga com os espaços urbanos ao expressar em suas linguagens as narrativas dos contextos nos quais se insere. O presente estudo tem como objetivo entender a dinâmica da função comunicativa do cartaz voltada para as questões sociais, mais especificamente na área de saúde pública, bem como as peculiaridades de seu público alvo, o adolescente, no que se refere aos diferentes níveis de alfabetismo verbal e visual, assim como suas singularidades culturais. No percurso do desenvolvimento do projeto contextualizamos as políticas de comunicação em saúde, a questão da Aids e o perfil do adolescente. Por meio da leitura diacrônica dos principais períodos da evolução do cartaz e da análise de sua tipologia e funções, identificamos sua inserção como mídia dirigida para a educação em saúde. O estudo dos conceitos de imagem, visualização, percepção e significação envolvidos no processo de comunicação nos permitiu analisar os aspectos pertinentes à linguagem visual, seus códigos e sua adequação aos objetivos propostos, segundo a abordagem teórica da semiótica da cultura. / In the mass visual communication history, posters play a significant role within the context of urban societies, where they have achieved lasting, privileged status in advertising, graphic arts and design. Since their inception in the 19th century, posters have established a dialogue with urban spaces as they express narratives that comprise the contexts within which they exist. The objective of this study is to understand the dynamics behind the communication value of posters geared to social issues, more specifically to public health, as well as the particularities of their target audience adolescents as regards different levels of verbal and visual literacy and their cultural singularities. During the development of our project, we sought to contextualize media policies in health services, the AIDS issue and adolescents profile. Through a diachronic reading of the main periods of evolution of posters and through analysis of their typology and functions, we identified their insertion as a medium for health education. Our studies based on the concepts of image, visualization, perception and meaning that comprise the media communication process enabled us to analyze aspects pertaining to visual language, its codes and its adequacy to proposed objectives according to a theoretical approach to the semiotics of culture.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-10-03T15:55:06Z No. of bitstreams: 1 Adriana Picheco Rolim_.pdf: 4646445 bytes, checksum: d66fbac3c2ed5d31d7c49fad63b1bbb2 (MD5) / Made available in DSpace on 2018-10-03T15:55:07Z (GMT). No. of bitstreams: 1 Adriana Picheco Rolim_.pdf: 4646445 bytes, checksum: d66fbac3c2ed5d31d7c49fad63b1bbb2 (MD5) Previous issue date: 2018-06-04 / Nenhuma / O objetivo desta dissertação é analisar a construção da imagem do inimigo interno através de alguns exemplares de cartazes impressos produzidos pelos órgãos de informação e segurança, compostos de slogans e imagens relacionados a indivíduos considerados “terroristas”, destinados a exposição pública em um período que compreende os anos de 1968 e 1975, no contexto da Doutrina de Segurança Nacional, DSN. Os chamados “cartazes de terroristas procurados” foram propostos dentro de uma normativa de caça e combate ao elemento dito “subversivo”. Inicialmente, foram difundidos com o intuito do conhecimento e da delação do inimigo interno, o que os coloca dentro de uma prática metodológica e repressiva, cuja repercussão no âmbito social envolveu a população não somente para a vigília e a delação, como para inserir o medo e a insegurança no tecido social. Um conjunto de reproduções destes cartazes, chamados de “coleções”, somados a documentos produzidos pelos órgãos de informação e segurança, pelo DEOPS e pelos periódicos da época, como a revista Veja, Folha de S. Paulo e O Estado de S. Paulo, possibilitaram o cruzamento destas fontes, a fim de proceder com as devidas inferências resultantes nesta dissertação. Dividida em quatro capítulos, esta dissertação parte da introdução sobre a temática e seus entornos, no capítulo seguinte discorre sobre o serviço de informações e sua extensa rede de comunicação, depois sobre a análise de conteúdo das coleções compostas de exemplares de cartazes, segundo a sua composição e apresentação e por fim, no último capítulo, um estudo sobre as efemérides nos periódicos supracitados e suas relações com os cartazes e as versões oficiais atribuídas às mortes dos “terroristas”, advindas dos órgãos de segurança e informação e divulgadas pela imprensa, selecionadas conforme o protagonismo destes indivíduos em ambas as situações. A produção e difusão destas coleções de cartazes configurou-se como uma propaganda do regime, disposto a construir a imagem do inimigo interno, a fim de apresentá-lo à sociedade como uma ameaça à nação. Esta prática repressiva embasou-se nos princípios da Lei de Segurança Nacional e da DSN, advindo de um governo autoritário que se instituiu como legítimo, caracterizando-se como um método de coação e repressão dentre outros já conhecidos. / This dissertation aims to analyze the building of the inside enemy image through some printed posters copies produced by security and information public agencies, composed of images and slogans related to people considered “terrorists”, used to public exposure in the years of 1968 and 1975, during the Brazil national security Civil-Military Dictatorship’s period, in the National Security’s Doctrine. These posters, called “wanted terrorist posters” were proposed considering a hunt and fight regulation towards a so-called “subversive” element. Initially, these posters were publicized in order to identify, recognize and report the inside enemy, defining them as a repressive and methodic praxis, whose repercussion in the social context drew in the population not only to a watching and denouncing’s process, as well as would infuse fear and insecurity in the social fabric. A set of copies of these posters, called “collections”, added to documents made by security and information public agencies, as well as other ones produced by DEOPS and some newspapers from that period, like Veja, Folha de São Paulo, and O Estado de São Paulo, made possible a proper sources crossing, in order to achieve the adequate inferences resulting from this dissertation. Divided into four chapters, this dissertation starts from the introduction about the theme and its specifications, going to the next chapter where is discussed the information service and its large network, then the posters copies’ collections content analysis according to its composition, and finally in the last chapter a study about the main facts in the aforementioned newspapers, their relations with the posters and the official versions allegedly attributed to “terrorists”, selected according to the protagonism of these individuals in those posters and the “official versions of suicide and gunfight”, bore from security and information public agencies, publicized by the press. The diffusion and production of these posters collections proved to be an advertisement made by the dictatorship’s regime which was willing to build an inside enemy’s image whose projection was used to introduce to the society the nation’s enemy face. This repressive práxis based itself on the national security law principles’ and DSN ones, produced in an authoritarian government which placed itself as a legitimate one, displaying itself as a coercion and repressive method, among others already known.

A proposta deste estudo é a análise da propaganda política realizada no Irã, por ocasião da Revolução Islâmica no período de 1978 1988, através dos cartazes produzidos. Partindo do chamado \"paradigma de Karbala\", foram considerados no trabalho os diversos conteúdos que integram o universo revolucionário, a partir da perspectiva social, estética, religiosa e política. A interdição ao uso e culto das imagens, trazida na esteira do processo de islamização acelerada da sociedade iraniana, é um dos paradoxos considerados ao longo da tese. O referencial teórico levou em conta as especificidades únicas da cultura e da filosofia iraniana, na tentativa de melhor compreender as ações que envolvem a comunicação no universo xiita. / The aim of this study is the analysis of the political propaganda yielded in Iran through the posters that were produced between 1978 and 1988, during the Islamic Revolution. From the so-called Karbala paradigm, the study considers the various contents that integrate the revolutionary universe, taking into account the social, aesthetic, religious and political perspective. The interdiction to image use and cult, carried through the accelerated islamization process of the Iranian society is one of the paradoxes considered in this dissertation. The theoretical references took into consideration the uniqueness of the Iranian culture and philosophy, in an attempt to better understand the actions that involve the communication in the Shia universe.

Two of the most important behaviors affecting youth are alcohol use and aggression. Advertisements that promote alcohol consumption and display aggressive images and words may influence attitudes and behaviors of youth. While there is considerable research on these kinds of advertisements in various media channels, there is limited research describing such advertising within public transit systems. The purpose of this study was, therefore, to describe and prevalence and characteristics of advertisements about alcohol and with violent content on the platform walls of the New York City subway system. Methods: A cross-sectional design with direct observations was used to document all advertisements in four boroughs: Bronx, Brooklyn, Manhattan, and Queens. Subway stations with and without advertising were identified and selected characteristics of advertisements about alcohol and with violent content were described. The presence of advertisements was examined based on racial/ethnic and income characteristics of station location using logistic regression. Results: Of 472 subway stations observed, 143 contained 8,737 advertisements, including duplicates. Of the 143 stations with any type of advertisements, 76 (53.1%) displayed one or more alcohol advertisements while over 95% included one or more advertisements with violent content (136 of 143). Of the 8,737 advertisements observed, 129 (1.5%) were for alcohol (including three public service messages) and 1,154 (13.2%) had violent content. Almost two-thirds of the 129 advertisements about alcohol were for beer. There were 144 advertisements that pictured guns. Not one public service announcement for violence prevention was observed. Examination of the presence of advertisements based on racial/ethnic and income characteristics of station location (n = 454 with complete data) showed no differences for advertisements with violent content, but greater odds of alcohol advertisements being present in locations with a higher percentage of Black population. Considerable variability existed between neighborhoods within each borough. Conclusions: Almost 9,000 advertisements were documented in this study. Despite the low number of advertisements about alcohol, one or more such advertisements was present in over one-half of the stations with advertising. Advertisements with violent content were pervasive. Recommendations focus on how public transit spaces can be used more productively to help cultivate caring communities.

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Magistro darbas “ Miesto šventinė įranga ir apipavidalinimas“ apima kelis objektus. Tai kompleksinio projektavimo darbas, kuriame labai svarbus ansambliškumas, bei harmoninga visuma. Kuriant šventinę įrangą buvo remiamasi bioninėmis formomis. Improvizuotos gyvosios gamtos formos įgalina sukurti neįprastus objektus, turinčius savitą stilistiką, tektoniką, ritmiką ir charakterį. Būtent iš gamtos nesenkančio šaltinio galima semtis naujų idėjų funkciniu ir estetiniu atžvilgiais. Lengvos konstrukcijos ir dinamiškos formos organiškai integruojasi į natūralią aplinką. Įranga yra sezoninis, todėl pasirinkta surenkamų konstrukcijų idėja. Tokiu būdu yra sukuriama sezoniška pramogų ir poilsio erdvė. Be struktūrinės konstrukcinės sandaros neįmanoma įsivaizduoti net elementariausio architektūros objekto. Šiuolaikinėje architektūroje struktūriškumas yra vie¬nas plastinės išraiškos elementų. (Mogilnickas I. (1995). Techninės estetikos pradmenys. Vilnius) Surenkamos metalo konstrukcijos ir šiuolaikinė tekstilinė architektūra sukuria lengvumo įspūdį ir suteikia įrangai išskirtinį charakterį. Viena iš įvaizdžio formavimo proceso sudėtinių dalių yra sėkmingas miesto reprezentavimas. Spaudiniai pagal visuomeninius kriterijus, informatyvumą, funkcionalumą lemiančius veiksnius, turi atspindėti vartotojo, interesanto interesus. Projektuojami plakatai ir visi kiti spaudiniai įgavo reprezentacinę – estetinę, negu reprezentacinę – informacinę prasmę, nes dėmesys daugiau... [toliau žr. visą tekstą] / This is a work of complex design where a sense of ensemble and harmony is very important. While creating the parts of the complex, unfailing resources of bionic forms were the base for it. Improvised forms of animate nature enable to create unusual objects which have specific stylistics, tectonics, rhythmic and character. Exactly nature is the unfailing source of new ideas according to both functional and aesthetic points of view. Light constructions and dynamic bionic forms integrate the celebration facilities into a natural environment organically. The celebration facilities are a seasonal one; that is why an idea of portable constructions was chosen. Thanks to this a seasonal space for entertainment and recreation is formed. Even an elementary object of architecture cannot be imagined without a structural constructional framework. In modern architecture, structure is one of the elements of plastic expression (Mogilnickas (1995) Techninės estetikos pradmenys / Basics of Technical Aesthetics [in Lithuanian]). Portable metal constructions and modern textile architecture form an impression of lightness and provide the construction with an exceptional character. One of image presentation parts, is successful town‘s representation. Prints must represent users interests by information, function. Prints become representative – aesthetic, but not representative – informative, because attention is more concentrated on unity of form and aesthetic symbols search, which... [to full text]

Grafinio dizaino vystymasis, reklama, vizualiosios reklamos objektai, reklama ir jos objektai, plakatai ir socialinės problemos, tai dalis mūsų visuomenės reiškinių. Atsižvelgiant į tai, kad socialinių problemų vis daugėja, o efektyvios šviečiamosios informacijos nėra daug, savo magistrinio darbo temą ir praktinį darbą siejau su socialinės reklamos sritimi. Socialinės reklamos reikalingumas yra labai svarbus atsižvelgiant į šių dienų aktualijas ir kintančią mūsų visuomenę. Magistrinio darbo tema: Socialinės reklamos projektas „Įspėjimai“. Ją sudaro dvi potemės: „Karas keliuose“ ir „Prekyba žmonėmis“ . Gilindamasi į šias problemas, ir esamų problemų grafinius sprendimus, mano pasirinkimu kuriant grafinio dizaino projektą „Įspėjimai“ buvo aktualizuojamos naujos visuomenės socialinės problemos, pateikiant įspėjimus vizualiai interpretuojant daiktų išskirtines savybes. Nagrinėjamos problemos ir jų svarba yra pateikti kitokiame kontekste, labiau gilinantis į pačių svarbiausių aktualijų turinį ir projekto vizualinius išskirtinius pateikimus, kurių pasėkoje, projekto įspėjimai ir bendra jungianti socialinių plakatų vizualizacija ir jų „kitoks pateikimas“ leido į šias problemas pažvelgti kur kas svarbiau ir aktualiau. Grafinis plakatų sprendimas tik dar labiau pabrėžia ir atskleidžia kiekvieno „Įspėjimo“ turinį ir reikšmę. Techniniame projekte sukurta dešimt plakatų, kiekvienai potemei po penkis. Pasirinktas atskiras tik potemę atitinkantis grafinis... [toliau žr. visą tekstą] / The graphic design, development, advertising, visual advertising items and its objects, posters, and social problems are a part of our public events.My disertation and paractical work are linked to the social advertising This is because due to the fact that social problems are increasing, and there is not enough effective educational information to the public. Social advertising is very important in our dayly lives. There is a big necessity of taking into account the current challenges and changes in our society. The thesis of my disertation is based on a graphic design project called „Warning“ in a social advertising . It consists of two sub-themes: "Human Trafficking" and "War on the roads". My choice of creating a graphic design Project called "Warning" was based on up to date of our new society social issues and the given notice of the visual interpretation on the items ,this is because of their unique characteristics. After examining all these problems and their importance I have provided a different context, further explores and the most important, relevant content and exceptional visual design submissions, which came up as result of „Warning“. The project is linked with the social visualization and posters.The different presentation makes us to look at these issues from more important and relevant sides.. The solution of the graphic posters is highlighted in a disclosure.The technical side of my project consits of ten posters which... [to full text]

Depuis son invention, le cinéma a bouleversé la culture, au point que, de manière récurrente, des études s'interrogent sur l'influence qu'il a eue dans la pensée d'éminents intellectuels, par exemple Michel Foucault ou Erwin Panofsky. Mais qu'en est-il de l'influence du cinéma dans le travail des artistes ? Mimmo Rotella (1918-2006), peintre d'origine calalabraise installé après-guerre à Rome, spectateur assidu et passionné de cinéma, évoque un grand nombre de films dans un corpus d'œuvres réalisées autour de 1960 : des tableaux à base d'affiches de cinéma, de genres essentiellement populaires, décollées dans les rues. Ainsi, dans le contexte de l'apogée des studios de Cincecittà et d'un pic de fréquentation des salles obscures jamais égalé en Europe, l'articulation de la peinture et du cinéma prend à ce moment précis de sa pratique une tournure singulière qui exprime l'élargissement de l'art à des références inattendues. Mais, ce faisant, ses œuvres ne risqueraient-elles pas de n'être que le symptôme d'une pratique culturelle naissante, jonglant avec des références tantôt cultivées tantôt populaires, que plus tard Hal Foster nomme l'indistinction ou Richard Peterson l'omnivorité, ou incarnent-t-elles une réelle démocratisation de l'art ?Articulées autour du moment fort que constitue l'exposition monographique intitulée Cinecittà en 1962, les différentes parties de la thèse éclairent les aspects du travail de l'artiste qui introduisent le cinéma dans le champ de l'art. Deux bornes chronologiques, un voyage aux États-Unis qui le détourne de la peinture en 1952-53 et un séjour en prison en 1964 qui lui fait fuir l'Italie, l'éloigne du milieu romain et le coupe de la suite du déroulement de l'art italien, sont déterminantes pour la nature et le contenu du corpus d'œuvres étudiées.C'est tout d'abord l'arrière plan social et culturel comme contexte d'émergence du geste artistique Rotella qui est brossé. Ensuite, est opérée une caractérisation précise des films choisis à travers les affiches afin de développer la réflexion sur l'intrusion du cinéma populaire dans l'art. Puis, dans la partie centrale, l'exposition Cinecittà est étudiée depuis sa conception jusqu'à sa réception. La suite de la thèse analyse les conséquences de cette exposition dans l'œuvre de l'artiste qui se tourne vers des films plus reconnus qu'aux débuts, notamment en s'attachant de plus en plus aux figures de stars : un autre aspect de la culture populaire émanant du cinéma s'invite alors dans le milieu de l'art, le phénomène sociologique du fan. Mais étrangement, peu de référence sont faites au cinéma italien qui vit son âge d'or au même moment, ce dernier constat ouvrant une réflexion sur la cinéphilie confrontée à la conception de « l'homme ordinaire du cinéma » selon l'expression de Jean-Louis Schefer.Ponctué par des images qui apparaissent en tête de partie et de chapitre, le texte du volume 1 évoque les œuvres et les décrit, avec des renvois à un ensemble de planches en annexe dans le volume 2. Ces incursions iconographiques rappellent combien les oeuvres sont à la source de l'ensemble de la thèse.Ainsi, le corpus étudié est le point de départ d'une réflexion sur la manière dont le cinéma et la culture médiatique se sont introduit dans l'art italien des années 1950-1960, tout en débordant ce cadre : il permet de penser comment, depuis cette époque jusqu'à aujourd'hui, certaines références médiatiques constituent le socle d'une culture commune entre le public et les artistes. / Since its invention, cinema has transformed culture, to the point that studies have recurrently questioned the influence it has had on the thinking of prominent intellectuals, for example on Michel Foucault or Erwin Panofsky. But what of the influence of cinema in the work of artists? Mimmo Rotella (1918-2006), a painter from Calalabria who settled in post-war Rome, and an avid filmgoer with a passion for cinema, evokes a large number of films in a corpus of works produced around 1960: canvases based on movie posters, mostly of popular genres, torn off the city walls. Thus, at this precise time, in the context of the glory years of the Cincecittà studios and a peak of cinema attendance unequalled in Europe, the relationship between painting and cinema took a particular turn, reflecting a broadening of the art to unexpected references. But in embracing cinema, were Rotella's works not in danger of merely being a symptom of an emerging cultural practice, juggling sometimes cultivated and sometimes popular references, something which Hal Foster would later dub nobrow or Richard Peterson omnivorousness, or do they represent a genuine democratisation of art?Articulated around the high point of the 1962 monographic exhibition entitled Cinecittà, the various sections of the thesis illuminate aspects of the work of the artist who introduced cinema into the field of art. Two moments in time – a trip to the United States that diverted Rotella from painting in 1952-53 and a prison stay in 1964 that caused him to flee Italy, distancing him from the Roman scene and subsequently cutting him off from what was happening in Italian art – are critical to the nature and the content of the corpus of works studied.We begin by considering the social and cultural context in which Rotella's artistic act emerged. We then undertake a precise characterisation of the films he chose through the posters to analyse popular cinema's intrusion into art. Then, in the central part, the Cinecittà exhibition is studied from its conception to its reception. The thesis subsequently examines the consequences of this exhibition in the work of the artist, who begins to turn to more recognized films, for example by focusing increasingly on stars. Another aspect of popular culture stemming from cinema then enters the art world, the sociological phenomenon of the fan, although, strangely, no reference is made to Italian cinema, which in that very period was enjoying its golden age. This leads to a reflection on the love of cinema confronted with the conception of “the common man of cinema” as Jean-Louis Schefer puts it.Interspersed with images that appear at the head of the parts and chapters of the thesis, the text of volume 1 discusses the works and describes them with reference to a set of plates in the appendix in volume 2. These incursions into the iconography recall that the works are the source of the entire thesis.Thus the corpus studied is the starting point for a reflection on the way film and media culture were introduced into the Italian art of the 1950s-1960s, while extending beyond this context: it points to how, from that time to the present day, certain media references have constituted the foundation of a common culture shared by the public and artists.

Historically, nationalism has been most apparent during times of conflict and struggle. During the First World War, every nation involved attempted to mobilize both industry and manpower towards the war effort. Unlike the other Belligerent Powers, Britain was encumbered by a tradition of voluntary enlistment until the introduction of conscription in 1916. This meant that the government had to convince the men of their nation to join the military. Many scholars have studied the role of recruitment posters in this historical endeavor as well as the role played by society in persuading young men to join the military. This Thesis couples both lines of historiography in order to better understand how the British government targeted a man's masculinity in order to recruit him. Victorian middle-class gendered concepts of public service, private/public spheres, fraternal obligations and ethnicity were all depicted on the surfaces of British recruitment posters. Thus this Thesis argues that the presence of these masculine markers within British recruitment propaganda suggests the British government attempted to mobilize masculinity towards winning the First World War. It also presses for a gendered view of nationalism in the historiography concerned with understanding British nationalist sentiment during the early twentieth-century. By integrating gender and nationalism into a visual analysis of various British war posters, it offers a new perspective on the government's recruitment strategies employed during the first two years of the First World War.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-07-25T14:16:27Z No. of bitstreams: 1 arquivo total.pdf: 3486423 bytes, checksum: 52118712b32c8005e2fbc43619ef2ac0 (MD5) / Made available in DSpace on 2016-07-25T14:16:27Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 3486423 bytes, checksum: 52118712b32c8005e2fbc43619ef2ac0 (MD5) Previous issue date: 2009-03-12 / Images produce and reproduce social relations, communicate facts, disclose events and interact with their readers with a force similar to a text made up of words. How eminently imagery gender, the poster, as well as an understanding also requires in its texture a process of persuasion, built by a producer to win your reader. In it, a chain of verbal and non-verbal elements arranged in a paper surface is permeated by strategies that most often go unnoticed by the average reader. Anchored in this perspective, this study aimed to verify the representations of non -verbais elements in this genre are structured in order to influence the look, the reading and the seizure of the messages printed on it. The corpus collected in specialized electronic ments, consisted of a poster produced by the British government, to recruit soldiers during the First World War, and those with whom it maintains dialogue conveyed after its publication. Methodologically, entwined: i) the studies developed by Charles Sanders Peirce (1974), in particular, the different categories and own laws organization of signs; ii) the functionalist approach to grammar of visual design proposed by Kress and van Leeuwen (2000), for whom there is in imagistic texts, a representational metafunction (describes the participants in an action), an interactional (sociointeracionais describes the relationships built by the image ) and other compositional (who combines its entirety); iii) Bakhtin's perspective of the sign, taken in its ideological aspect. The analysis confirmed the hypothesis that the visual code, as well as verbal language has its own forms of representation, in that builds relationships and interactional is meaningful relationships from their architecture. In this sense, it is said that the war poster is a semiotic whose wealth today needs to be explored, since its engineering responds to an arsenal of multiple possibilities presented by technological advancement of information and communication - due to occupy various spaces in world - but little has attracted the interest of linguistic research. Ultimately, the investigation brought to light how these posters were used by several leaders of different countries, as a tool to "sell" the idea of war for the population. It can be said then that the posters studied establish a text physical contact with the reader-observer, who performs the critical activity of disclosure in relation to reading, in search of seizure of precalculated meanings and horizons by the producer of these printed genres. / Imagens produzem e reproduzem relações sociais, comunicam fatos, divulgam eventos e interagem com seus leitores com uma força semelhante à de um texto formado por palavras. Como gênero eminentemente imagético, o cartaz, além de uma compreensão, também requer em sua textura um processo de persuasão, construído por um produtor para conquistar seu leitor. Nele, uma cadeia de elementos verbais e não-verbais dispostos na sua superfície de papel é permeada por estratégias que, na maioria das vezes, passam despercebidas pelo leitor comum. Ancorado nessa perspectiva, este estudo buscou verificar como as representações dos elementos não -verbais neste gênero estão estruturadas de modo a influenciar o olhar, a leitura e a apreensão das mensagens nele impressas. O corpus, recolhido em sitos eletrônicos especializados, constituiu-se de um cartaz produzido pelo governo britânico, para recrutamento de soldados durante a primeira guerra mundial, e aqueles com os quais ele mantém diálogo, veiculados após sua publicação. Metodologicamente, entrelaçaram-se: i) os estudos desenvolvidos por Charles Sanders Peirce (1974), notadamente, as diferentes categorias e leis próprias de organização dos signos; ii) a abordagem funcionalista da gramática do design visual proposta por Kress e van Leeuwen (2000), para quem há, nos textos imagéticos, uma metafunção representacional (descreve os participantes em uma ação), uma interacional (descreve as relações sociointeracionais construídas pela imagem) e uma outra composicional (que combina seus elementos); iii) a perspectiva bakhtiniana do signo, tomado em seu aspecto ideológico. A análise confirmou a hipótese de que o código visual, assim como a linguagem verbal, possui formas próprias de representação, na medida em que constrói relações interacionais e constitui relações de significado a partir de sua arquitetura. Nesse sentido, diz-se que o cartaz de guerra é um manancial semiótico cuja atualidade precisa ser explorada, posto que sua engenharia responde a um arsenal de múltiplas possibilidades apresentadas pelo avanço tecnológico da informação e da comunicação – razão de ocupar os mais variados espaços no mundo –, mas pouco tem despertado o interesse da pesquisa linguística. Em última instância, a investigação realizada trouxe à tona como os referidos cartazes foram usados por diversos líderes, de países distintos, como ferramenta para "venderem" a ideia da guerra para a população. Pode-se afirmar, então, que os cartazes estudados estabelecem um contato físico do texto com o leitorobservador, que executa a atividade crítica de desvelamento em relação ao que lê, na busca da apreensão de significados e horizontes pré-calculados pelo produtor desses gêneros impressos.