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dc.contributor.authorDornaleteche Ruiz, Jones_ES
dc.date.accessioned2014-10-02T12:32:08Z
dc.date.available2014-10-02T12:32:08Z
dc.date.issued2012es_ES
dc.identifier.citationCulture of communication / Communication of culture, 2012: 1875-1883. ISBN: 978-84-9749-522-6es_ES
dc.identifier.isbn978-84-9749-522-6es_ES
dc.identifier.urihttp://hdl.handle.net/2183/13487
dc.description.abstract[Abstract] Jean Luc Godard once said that “movie trailers are perfect films because the never let you down”. Movie trailers have a crucial role in the film industry. Despite their omnipresence there are just a few academic works willing to explain their semiotic status. There are many types of movie trailers and all of them have singular characteristics (eg: theatrical trailers, teasers, clips, making of, creative trailers…). In this paper, it is explained how they work depending on the semiotic relation between the sign and the object, in Peircean terms. Some of them might have a more metonymic structure and others might be understood as being more analogical. As a conclusion, it is argued why most of the movie trailers have almost the same sign configuration concerning their persuasive effectiveness.es_ES
dc.language.isoenges_ES
dc.publisherUniversidade da Coruñaes_ES
dc.titleThe semiotic status of movie trailerses_ES
dc.typeinfo:eu-repo/semantics/conferenceObjectes_ES
dc.rights.accessinfo:eu-repo/semantics/openAccesses_ES


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