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Titlebook: Scenes, Semiotics and The New Real; Exploring the Value Chris Brown Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Authent

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楼主: FORAY
发表于 2025-3-23 11:26:54 | 显示全部楼层
Defining Scenes,matrix of scenic ‘types’, which organizes instances of scenes according to whether they are predominantly based in a given location, in a definable period of time or some combination of both. This typology provides three broad categories of scenes, which are then explored in Chapters 2 and 3. Finall
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Further Scenic Types,g a ‘time−/place+’ scene, is that of an inspirational market in Modena (Italy) which provides an exciting example of how it is possible to engage both with food and the wider community in very different ways to the supermarket culture that dominates the UK. The second example is the introduction of
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Scenic Capital and the Attractiveness of Scenes,ople send messages to one another, it is suggested that scenes are no different. Correspondingly, it is argued that what makes scenes appealing is the way in which they transmit messages of originality and distinctiveness, and via our consumption of them they also allow us to send messages to say we
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,How Scenes Can Rapidly Diminish to Normality — Part 1, Chainification,n scene is likely to be subject to replication as people seek to spread this difference across time and/or space. The chapter focuses on restaurant chains as a specific example to show how successful scenes are often likely to be copied in order to make money (i.e., if a scene makes money, then expa
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,How Scenes Can Rapidly Diminish to Normality — Part 2, Tourism, Social Media and the Mass Media,ia as well as the mass media, can serve to diminish the operation of scenes in different ways. With tourism, this is because of the way it acts to turn instances of authentic living into spectacles that people visit; with social media, because it’s use serves to prevent scenic participants from bein
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Conclusion,t risk of homogeneity. In this final section suggestions are also provided for how the continued existence of scenes might be meaningfully protected and perpetuated. Specifically the concepts of semiotic guerrilla warfare and code are introduced, and it is argued that one way of preventing or at lea
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