本文選題：海報(bào)　切入點(diǎn)：愛情電影　出處：《寧波大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：電影是一門大眾的、時(shí)尚的、流行的藝術(shù),深為全世界各階層人們喜愛。電影海報(bào)是伴隨著電影一同誕生的電影宣傳畫,是電影的廣告,是由繪畫、攝影、文字等視覺藝術(shù)手段組成,其畫面極為鮮明、生動(dòng),準(zhǔn)確地表明了影片的藝術(shù)訴求和思想內(nèi)涵。同時(shí),電影海報(bào)又是時(shí)代和社會(huì)環(huán)境的產(chǎn)物,它的制作又反映了一定歷史時(shí)期的價(jià)值取向和時(shí)代特征,在不同的國家又具有不同的民族特征,反映不同的民族文化。 多模態(tài)話語指的是除了文本之外,還帶有圖像、圖表等的復(fù)合話語,或者說任何由一種以上的符號(hào)編碼實(shí)現(xiàn)意義的文本(李戰(zhàn)子,2003)。多模態(tài)話語分析認(rèn)為語言這一社會(huì)符號(hào)與圖像、聲音、顏色、排版等其它社會(huì)符號(hào)都是意義的來源,他們?cè)跇?gòu)建意義過程中都起著極其重要的作用。因此,圖像、聲音、顏色、排版等符號(hào)資源的研究應(yīng)放在同等重要的位置。 本研究以中美愛情電影海報(bào)為語料進(jìn)行多模態(tài)話語分析。根據(jù)Lim的綜合多模態(tài)理論框架,本文從表達(dá)層面、內(nèi)容層面和語境層面三個(gè)層面展開分析。在表達(dá)層面,分別討論了文本和圖像模態(tài)的表達(dá)形式,并對(duì)比中美愛情電影海報(bào)在表達(dá)層面的差異。通過對(duì)比我們發(fā)現(xiàn)中國電影海報(bào)非常重視視覺觀感,而美國電影海報(bào)除了重視視覺外更重視整體與部分的結(jié)合。除此之外,中美兩國愛情電影海報(bào)的表現(xiàn)手法也有所不同,中國愛情電影海報(bào)側(cè)重意象,美國愛情電影海報(bào)注重寫實(shí)。在內(nèi)容層面,本文利用評(píng)價(jià)理論和視覺語法進(jìn)一步分析了文本和圖像這兩種模態(tài)的內(nèi)涵,并發(fā)現(xiàn)中美兩國愛情電影海報(bào)在內(nèi)容層面存在許多差異。一、中國愛情電影海報(bào)重視演員和導(dǎo)演的信息,美國愛情電影海報(bào)注重制片人和出品人的信息并非常重視知識(shí)產(chǎn)權(quán)的保護(hù)。二、在賣點(diǎn)方面,中國愛情電影海報(bào)經(jīng)常利用明星效應(yīng),美國愛情電影海報(bào)更多利用劇情來吸引觀眾。三、在視覺語法框架下我們不難發(fā)現(xiàn)中國愛情電影海報(bào)更多的是“索取”類圖像,建立的是社會(huì)關(guān)系。美國愛情電影海報(bào)更多的則是“提供”類圖像,建立的是親密的個(gè)人關(guān)系。最后,本文從語境層面揭示了中美愛情電影海報(bào)在表達(dá)和內(nèi)容層面出現(xiàn)差異的三點(diǎn)原因:不同的行業(yè)發(fā)展?fàn)顩r和管理體制,不同的文化所導(dǎo)致的不同的婚戀價(jià)值觀,不同的電影受眾人群。 本研究的意義在于發(fā)現(xiàn)海報(bào)的文字、圖像兩種模態(tài)如何構(gòu)建意義,對(duì)提高人們的多模式話語識(shí)讀能力有一定幫助。對(duì)文化、經(jīng)濟(jì)和體制等的分析,更深入地識(shí)讀了電影海報(bào)深層的語境意義。同時(shí)我們發(fā)現(xiàn)只有那些立足本國文化和國情的電影海報(bào)才能真正吸引觀眾的眼球,因此對(duì)如何設(shè)計(jì)愛情類電影海報(bào)和如何成功起到對(duì)影片的宣傳作用具有一定的借鑒意義。
[Abstract]:Film is a popular, fashionable, popular art, deeply loved by people from all over the world. The visual arts, such as words and other visual art means, are very vivid, vivid and accurate in showing the artistic appeal and ideological connotation of the film. At the same time, the film poster is the product of the times and the social environment. Its production reflects the value orientation and time characteristics of a certain historical period, and it also has different national characteristics and different national cultures in different countries. Multimodal discourse refers to the complex discourse with images, graphs, etc., in addition to the text. Or any text in which meaning is realized by more than one symbol code (Li Zhanzi / 2003.Multimodal discourse analysis suggests that language as a social symbol and other social symbols such as images, sounds, colors, typography, etc.) is the source of meaning. Therefore, the study of image, sound, color, typesetting and other symbol resources should be equally important. According to the framework of Lim's comprehensive multi-modal theory, this paper analyzes the relationship between Chinese and American love movie posters from three levels: expressive level, content level and contextual level. This paper discusses the expression forms of text and image modes, and compares the differences between Chinese and American love movie posters in terms of expression. Through the comparison, we find that Chinese movie posters attach great importance to visual perception. In addition, the American film posters attach more importance to the integration of the whole and the parts than the visual aspects. In addition, the Chinese and American love film posters also show different ways of expressing themselves. The Chinese love film posters focus on imagery. American love movie posters focus on realism. At the content level, this paper further analyzes the connotation of the two modes of text and image by using evaluation theory and visual grammar. It is also found that there are many differences in the content of love film posters between China and the United States. First, Chinese love film posters attach importance to the information of actors and directors. American love movie posters focus on the information of producers and producers and attach great importance to the protection of intellectual property rights. Second, in terms of selling points, Chinese love film posters often use the star effect. American love movie posters make more use of the plot to attract viewers. Third, under the framework of visual grammar, it is not difficult to find that Chinese love movie posters are more like "get" images. It's about social relations. American love movie posters are more about "providing" images, and they're about close personal relationships. This paper reveals three reasons for the differences in the expression and content of Chinese and American love film posters from the perspective of context: different industry development and management system, different marriage values caused by different cultures. Different audiences. The significance of this study is to find out how the text and image modes of posters can be constructed, which is helpful to improve the reading ability of multi-mode discourse. The analysis of culture, economy and system, etc. At the same time, we find that only those film posters based on the national culture and national conditions can really attract the audience's attention. So how to design the love film poster and how to play a successful role in the promotion of the film has certain reference significance.
【學(xué)位授予單位】：寧波大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：H04

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