2025-03-27
Cristina V. Herranz-Llácer, Pablo R. Prieto
The aim of this article is to address the complexity of the vocabulary related to colors. The interest in this topic arises because the nomenclature of color is not uniform and varies according to the cultural and social context, reflecting the linguistic diversity around this reality. The study is based on a systematic bibliographic review, developed with the PRISMA methodology, of the lexical availability and the associative area Colors. Thus, from a total of 41 publications obtained from the databases Dialnet, Scielo, Google Scholar and DispoLex, the results have revealed that the names of colors can be classified into different lexical categories, such as simple adjectives, metonymic nouns or syntagmatic compositions. On the other hand, from the point of view of art and design, it highlights the importance of having a list of the most available words to name color and a common language between linguistics and the arts. Finally, it was observed that women evoke more words and details about colors than men and that the socioeconomic level seems to influence the mention of more or less words about this topic.
2025-03-27
Cristina Garre-Sánchez
The purpose of this research is to distinguish the authentic fashion films from the rest of the audiovisual creations selected for the Madrid Fashion Film Festival (2013 - 2018). This festival has been selected for being a pioneering initiative in the spreading of this audiovisual format in Spain. The main objective is to verify whether the short films selected in the contest fulfill 22 characteristic criteria that define the fashion film, according to the available literature. Thus, a qualitative and quantitative analysis is carried out from an artistic perspective, based on a semantic and non-mathematical classification methodology, of the 154 audiovisual creations selected in the four editions of the festival. According to the degree of accomplishment of each piece, the number of films that are broadly counted as fashion films amounts to 45. These audiovisual creations are commissioned by a fashion label or brand and there is an explicit mention of authorship, in addition, they may include audiovisual experimentation. Likewise, the 154 audiovisual creations analyzed are categorized into 11 different groups, of which 4 are the most relevant. Of these, two groups are called strict fashion film and generic fashion film. The other 2 groups are called: signature fashion audiovisual creation and experimental audiovisual creation. These 4 groups are composed of 56 relevant audiovisual creations and fulfill the characteristic criteria in a percentage equal to or higher than 80%, establishing a relevant classification for future research and festivals.