The Form and content of the Palestinian Poster from 1965 to 2017

The poster is a cultural product that expresses the culture of a society. It is a human expression composed of the same components as any form of artistic work, namely form and content. The objective of this study is to illustrate the relationship between the form and the content and to identify the...

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Main Author:	Sudan, Hamdan Hmidan
Format:	Thesis
Language:	English
Published:	2019
Subjects:	NK Decorative arts Applied arts Decoration and ornament
Online Access:	http://ir.unimas.my/id/eprint/41967/2/Suhad%20Hamdan%20ft.pdf
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id	my-unimas-ir.41967
record_format	uketd_dc
spelling	my-unimas-ir.419672024-06-26T02:21:22Z The Form and content of the Palestinian Poster from 1965 to 2017 2019 Sudan, Hamdan Hmidan NK Decorative arts Applied arts Decoration and ornament The poster is a cultural product that expresses the culture of a society. It is a human expression composed of the same components as any form of artistic work, namely form and content. The objective of this study is to illustrate the relationship between the form and the content and to identify the characteristics of the Palestinian poster from 1965 to 2017. The Palestinian national poster emerged in various forms and contents, most notably heroic poster, memorial posters of the marty, cultural posters, and painting easel posters. The study is qualitative deductive research approach that relies of systematic content analysis based on the characteristics of the artwork. The case studies entail all the Palestinian posters that published from 1965 to 2017 and purposive sampling is chosen for selecting the sample. The study uses NARA photo analysis as a tool. The researcher assumes that the poster artist has been looking at a positive relationship consensual in terms of shape and content. However, the dramatic changes and events in Palestine have a greater role in determining the nature of the relationship permanently. This makes the artists of the Palestinian poster focus more on the form than on the content to keep following up the changing event within the Palestinian struggle. The letter of the Palestinian poster was often non-specific, and therefore the Palestinian artist struggling to find a suitable way to achieve what he intended in the design of the poster, that is to strengthen the shape on the content or vice versa. As a conclusion, the Palestinian poster artist does not focus on the content in a clear professional manner, reflecting the aesthetic and intellectual values. Universiti Malaysia Sarawak, (UNIMAS) 2019 Thesis http://ir.unimas.my/id/eprint/41967/ http://ir.unimas.my/id/eprint/41967/2/Suhad%20Hamdan%20ft.pdf text en validuser phd doctoral Universiti Malaysia Sarawak, (UNIMAS) Faculty of Applied and Creative Arts
institution	Universiti Malaysia Sarawak
collection	UNIMAS Institutional Repository
language	English
topic	NK Decorative arts Applied arts Decoration and ornament
spellingShingle	NK Decorative arts Applied arts Decoration and ornament Sudan, Hamdan Hmidan The Form and content of the Palestinian Poster from 1965 to 2017
description	The poster is a cultural product that expresses the culture of a society. It is a human expression composed of the same components as any form of artistic work, namely form and content. The objective of this study is to illustrate the relationship between the form and the content and to identify the characteristics of the Palestinian poster from 1965 to 2017. The Palestinian national poster emerged in various forms and contents, most notably heroic poster, memorial posters of the marty, cultural posters, and painting easel posters. The study is qualitative deductive research approach that relies of systematic content analysis based on the characteristics of the artwork. The case studies entail all the Palestinian posters that published from 1965 to 2017 and purposive sampling is chosen for selecting the sample. The study uses NARA photo analysis as a tool. The researcher assumes that the poster artist has been looking at a positive relationship consensual in terms of shape and content. However, the dramatic changes and events in Palestine have a greater role in determining the nature of the relationship permanently. This makes the artists of the Palestinian poster focus more on the form than on the content to keep following up the changing event within the Palestinian struggle. The letter of the Palestinian poster was often non-specific, and therefore the Palestinian artist struggling to find a suitable way to achieve what he intended in the design of the poster, that is to strengthen the shape on the content or vice versa. As a conclusion, the Palestinian poster artist does not focus on the content in a clear professional manner, reflecting the aesthetic and intellectual values.
format	Thesis
qualification_name	Doctor of Philosophy (PhD.)
qualification_level	Doctorate
author	Sudan, Hamdan Hmidan
author_facet	Sudan, Hamdan Hmidan
author_sort	Sudan, Hamdan Hmidan
title	The Form and content of the Palestinian Poster from 1965 to 2017
title_short	The Form and content of the Palestinian Poster from 1965 to 2017
title_full	The Form and content of the Palestinian Poster from 1965 to 2017
title_fullStr	The Form and content of the Palestinian Poster from 1965 to 2017
title_full_unstemmed	The Form and content of the Palestinian Poster from 1965 to 2017
title_sort	form and content of the palestinian poster from 1965 to 2017
granting_institution	Universiti Malaysia Sarawak, (UNIMAS)
granting_department	Faculty of Applied and Creative Arts
publishDate	2019
url	http://ir.unimas.my/id/eprint/41967/2/Suhad%20Hamdan%20ft.pdf
_version_	1804888421380915200

The Form and content of the Palestinian Poster from 1965 to 2017

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