This is not like a poster: o cartaz: dos átomos aos bites, do material ao imaterial

• Autor(a) principal: Rodrigues, Rita Sofia Salvador
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/41316
• topic: Grussin, Richard; Bolter, Jay David; McLuhan, Marshall, 1911-1980; Cartazes; Cartazes; Design gráfico; Comunicação visual; Meios analógicos; Meios digitais; Novos media; Remediação; Domínio/Área Científica::Humanidades::Artes

In an era of digital and consumption society, the printed poster is in a time of change and adaptation to technologies. Has an important way of communication, the idea that it’s format doesn’t only exist on the walls stands out. In the first place, this study contextualizes the printed poster in history, searching for a definition and understanding of the poster as a medium. The printed poster has we know it, takes us to the XVII century and walked in a relationship with painting. Jules Chéret and Toulouse-Lautrec are the main figures in the development of the poster as a mean of communication. In his genesis, the poster’s main function was merely aesthetic until a strong advertising power was understood. It was the predecessor of visual communication and a crucial element in the rise of graphic design. It brought the emergence of the designer as a professional just as persuasive advertisements and bigger/stronger brands. Considering the visions of authors like Crowley and Poynor, the actual state of the poster gets highlighted compared to society and media. They defend it’s subsistence in the public space but at the same time believe in a change of format and structure, defining an historical line of it’s growth. At this stage, it’s clear to see a change in it’s printed and passive realm to a digital and interactive condition as an answer to media and technology development. The difference between the old media poster and the new media poster gets established, justified by the digitized information and the binary structures, which takes us to the remediation process by Bolter and Grusin. It is the process that clarify and connect the printed poster to the digital screens and other digital media in general. Although the future of the poster is uncertain, but everything points to the coexistence between its print and digital realm.