本文選題：電影海報(bào)　切入點(diǎn)：設(shè)計(jì)　出處：《河南大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：電影是二十世紀(jì)最偉大和最具影響的發(fā)明之一，從誕生至今，已經(jīng)有一百多年的歷史，它曾經(jīng)在人類社會(huì)活動(dòng)中扮演十分重要的角色。電影的宣傳方式有很多種，電影海報(bào)作為最早最直接的宣傳媒介之一，具有鮮明的時(shí)代性，承載著電影的發(fā)展與變化。它既綜合反映當(dāng)下時(shí)代的經(jīng)濟(jì)、政治、文化；也體現(xiàn)繪畫、設(shè)計(jì)的時(shí)代縮影，有著不可替代的重要位置。有人說：電影海報(bào)是電影的一張名片，一幅廣告，是電影內(nèi)容和主題高度濃縮的產(chǎn)物。一幅優(yōu)秀的電影海報(bào)可以提升電影的藝術(shù)品位，成為電影內(nèi)容所表現(xiàn)的某種文化的象征性代表，甚至能夠作為觀念交流的載體，可以將不同地域和文化背景的人的共通性意念通過圖形化方式表現(xiàn)出來，達(dá)到心靈之間的直接溝通。 不同的時(shí)代，人們對(duì)美的感受有不同的認(rèn)識(shí)和理解，而且，審美在時(shí)代的變遷中，也會(huì)提出不同的新要求。時(shí)代的變遷就是時(shí)代文化的體現(xiàn)，在每個(gè)時(shí)代都具有其特征與特定的文化現(xiàn)象，在各個(gè)領(lǐng)域有著不同的表現(xiàn)方式，在政治、經(jīng)濟(jì)、文化上有著不同的反映，所以，人們的審美需求反映的是當(dāng)時(shí)整體的時(shí)代特征。 整個(gè)20世紀(jì)的中國(guó)電影，經(jīng)歷了從無(wú)聲到有聲，從黑白到彩色，從模擬到數(shù)字，從傳統(tǒng)到現(xiàn)代技術(shù)的變革進(jìn)程。在這幾個(gè)不同的發(fā)展階段中，中國(guó)電影伴隨著國(guó)家的現(xiàn)代化進(jìn)程，以特有的影像表現(xiàn)方式，記錄了中國(guó)社會(huì)的變遷，成為人們喜愛的大眾娛樂形式。電影海報(bào)作為電影的衍生品，在不同的歷史時(shí)期內(nèi)，扮演著重要的角色。除了電影海報(bào)本身所具有的傳遞信息、藝術(shù)審美和歷史文化的功能，電影海報(bào)作為一種大眾文化，在各個(gè)階段都帶著不同的功能特征出現(xiàn)在歷史的舞臺(tái)上。 新世紀(jì)的中國(guó)電影進(jìn)入到前所未有的發(fā)展時(shí)期，電影的商業(yè)化趨勢(shì)，成為電影產(chǎn)業(yè)發(fā)展的主流，同時(shí)也帶動(dòng)了電影產(chǎn)業(yè)的發(fā)展。電影海報(bào)是商業(yè)化運(yùn)作中的重要角色，越來越受到電影公司的關(guān)注。而作為一種藝術(shù)樣式，電影海報(bào)既要受制于美的規(guī)律；同時(shí)，它作為一種有效的大眾傳播媒體，又被制定擔(dān)負(fù)國(guó)家意識(shí)形態(tài)使命，三重身份的交織,新世紀(jì)的中國(guó)電影呈現(xiàn)出一種多元化走向,各種電影形態(tài)在共存狀態(tài)中,選擇著各自的電影運(yùn)作策略和電影消費(fèi)市場(chǎng),為自己的生存定位。 審視當(dāng)代中國(guó)電影，面對(duì)加入WTO，國(guó)內(nèi)電影界迫切期待改變目前電影票房低迷和急于應(yīng)對(duì)世界環(huán)境的心態(tài)，不是胸有成竹的應(yīng)對(duì)壓力，而是急于尋求改變。以至于目前國(guó)內(nèi)電影市場(chǎng)上出現(xiàn)，海報(bào)設(shè)計(jì)雷同、抄襲、及明星“大頭照”現(xiàn)象；電影海報(bào)設(shè)計(jì)過度追求商業(yè)價(jià)值缺乏藝術(shù)審美性、海報(bào)設(shè)計(jì)模式化、世俗化等現(xiàn)象十分嚴(yán)重。 面對(duì)這些問題，應(yīng)當(dāng)從源頭解決，重視對(duì)電影海報(bào)設(shè)計(jì)，將這個(gè)行業(yè)規(guī)范化操作。首先，作為設(shè)計(jì)師，應(yīng)當(dāng)加強(qiáng)專業(yè)知識(shí)學(xué)習(xí)與自身文化修養(yǎng)的提高，關(guān)注細(xì)節(jié)設(shè)計(jì)，及時(shí)與客戶溝通解釋，力求達(dá)到商業(yè)與藝術(shù)的完美結(jié)合；要對(duì)自己的工作負(fù)責(zé)，不能隨意照搬照抄其他作品。海報(bào)設(shè)計(jì)要符合中國(guó)觀眾的審美，將海報(bào)設(shè)計(jì)本土化、民族化。其次，作為客戶，電影公司應(yīng)當(dāng)注重海報(bào)設(shè)計(jì)工作，培養(yǎng)專業(yè)的海報(bào)設(shè)計(jì)人才，加強(qiáng)國(guó)際間的交流和專業(yè)學(xué)習(xí)，向國(guó)外借鑒，，制定標(biāo)準(zhǔn)，讓設(shè)計(jì)人員參與到電影的制作當(dāng)中去。海報(bào)設(shè)計(jì)是整個(gè)電影營(yíng)銷系統(tǒng)中重要的一環(huán)，對(duì)于制作海報(bào)的流程有嚴(yán)謹(jǐn)?shù)囊?guī)范，精益求精。在電影拍攝前，設(shè)計(jì)師就應(yīng)當(dāng)加入電影創(chuàng)作團(tuán)隊(duì)當(dāng)中，與導(dǎo)演溝通、演員進(jìn)行對(duì)話，進(jìn)行專門的拍攝工作。設(shè)計(jì)師在了解、掌握了足夠的信息和資料之后，再經(jīng)過反復(fù)揣摩、研究，創(chuàng)作出能代表電影靈魂的宣傳海報(bào)。整個(gè)過程，需要有一套完整的模式、流程、標(biāo)準(zhǔn)操作。在進(jìn)行海報(bào)設(shè)計(jì)的過程中，電影公司應(yīng)當(dāng)尊重設(shè)計(jì)師的意見和建議，及時(shí)溝通，相信其專業(yè)性，多給設(shè)計(jì)師留出空間去設(shè)計(jì)。 全球化的背景中明顯存在觀念的差異，尋找世人通用的電影表現(xiàn)語(yǔ)言是中國(guó)電影生存的基本要求，電影海報(bào)設(shè)計(jì)也應(yīng)當(dāng)注重策略研究。轉(zhuǎn)化觀念，電影業(yè)的集團(tuán)化，比如影視的聯(lián)合，重視電影產(chǎn)品的生產(chǎn)，加大資金投入國(guó)產(chǎn)大片的主張，低成本民族電影創(chuàng)作等等，都是基于全球化思維轉(zhuǎn)變的基礎(chǔ)上，勇敢面對(duì)全球化，加強(qiáng)溝通并善于對(duì)應(yīng)，是中國(guó)電影必須走下去的必由之路。中國(guó)電影的不懈創(chuàng)造，全球化意識(shí)以民族自足、自立的特色為根基，融合創(chuàng)新21世紀(jì)中國(guó)電影必定會(huì)躍上藝術(shù)新臺(tái)階。在全球化的大背景中，中國(guó)的電影海報(bào)設(shè)計(jì)應(yīng)具藝術(shù)性、多元化、文化性融合與國(guó)際化的趨勢(shì)發(fā)展。 根據(jù)收集的資料來看，對(duì)于電影海報(bào)設(shè)計(jì)的研究大多集中在對(duì)電影海報(bào)的歷史、風(fēng)格、表現(xiàn)手法或者某種視覺元素上，研究?jī)?nèi)容包含有：海報(bào)視覺元素中的文字、圖形、色彩的運(yùn)用；這三種元素視覺的結(jié)合方式與效果等。研究中忽視了電影海報(bào)在不同歷史時(shí)期的社會(huì)背景下表現(xiàn)出的文化內(nèi)涵和審美體味，缺乏對(duì)當(dāng)下電影海報(bào)設(shè)計(jì)現(xiàn)狀以及優(yōu)缺點(diǎn)分析，以及未來發(fā)展方向的研究，而此類研究則更具有現(xiàn)實(shí)意義。因此，本文針對(duì)目前電影海報(bào)設(shè)計(jì)現(xiàn)狀及存在的問題和不足，極力探尋造成這些現(xiàn)象的原因，深度剖析解決之道。 本文在收集大量與電影海報(bào)相關(guān)的文獻(xiàn)、期刊、論文、著作、網(wǎng)絡(luò)資料、電影海報(bào)等資料的基礎(chǔ)上，選取具有代表性的電影海報(bào)進(jìn)行分析。研究范圍是從我國(guó)解放以來至今電影海報(bào)設(shè)計(jì)、海報(bào)功能的演變，以求全面、準(zhǔn)確。本文意在探求導(dǎo)致電影海報(bào)功能演變的原因；分析當(dāng)代中國(guó)電影海報(bào)所處背景、現(xiàn)狀和發(fā)展趨勢(shì)。希望本文的撰寫能夠?yàn)槲覈?guó)電影海報(bào)設(shè)計(jì)做出一些貢獻(xiàn)，為促進(jìn)電影海報(bào)的設(shè)計(jì)積極、快速發(fā)展盡微薄之力。
[Abstract]:The film is one of the twentieth Century's greatest and most influential invention, since its inception, has more than 100 years of history, it has played a very important role in human social activities. There are many kinds of movie publicity, movie posters as one of the earliest and most direct media, with the distinct characteristics of the times, bearing the change and development of the movie. It is a comprehensive reflection of the era of economic, political and cultural; also reflects the epitome of painting, design, has the irreplaceable important position. Some people say: the movie poster is a name card film, advertisement, movie content and theme of highly concentrated product a good movie poster. The film can enhance the artistic taste, become a kind of cultural movie content showed the symbolic representation, can even as a concept of carrier communication, can be different geographical and cultural background The views of the people in the landscape are expressed in a graphical way to achieve direct communication between the mind.
Different times, people have the feeling of beauty and understanding, different and aesthetic in the changes of the times, will put forward new requirements for different times. The change is the embodiment of the era culture has its characteristics and specific cultural phenomenon in every age, there are different ways of expression in all in the field of politics, economy and culture have different reflection, so people's aesthetic demand reflects the overall features of the times at that time.
The twentieth Century Chinese film, experienced from silent to sound, from black and white to color, from analog to digital, to modern technology revolution process from tradition. In the various stages of development, Chinese movie with national modernization process, with a uniqueimage expression and record the change of social Chinese and become a favorite form of entertainment. Popular movie posters as movie derivatives, in the different historical period, plays an important role. In addition to transfer information Movie Poster itself has, aesthetic and historical and cultural features, movie posters as a kind of popular culture in various stages with different functional characteristics appeared on the historical stage.
In the new century Chinese movies into the development period of hitherto unknown, the film's commercialtrend, become the mainstream of the development of the film industry, but also led to the development of the film industry. The movie poster is the important role of the business operation, has attracted more and more attention. The film company and as a style of art, film posters both subject to the laws of the United States; at the same time, it is a kind of effective mass media and be responsible for formulated national ideology mission, intertwined three identities, the new century Chinese film shows a diversification trend, the movie forms coexisted in the state, choose their own movies and movie consumer market operation strategy and for his ownsurvival positioning.
Look at the contemporary China film, in the face of WTO, the domestic film industry is urgent to change the current film downturn and eager to deal with the environmental attitude, coping with stress is not confident, but seek to make a change. So the domestic film appeared on the market, poster design identical, copy, and Star "headshots" phenomenon; movie poster design over the pursuit of commercial value, lack of artistic aesthetic, poster design patterns, such as secularization phenomenon is very serious.
In the face of these problems, from the source should be solved, attach importance to the movie poster design, will be the industry standard operation. First of all, as a designer, should strengthen the professional knowledge and the improvement of their own culture, pay attention to detail design, timely communication with customers, and strive to achieve the perfect combination of business and art; to be responsible for their own work and can not copy other works. The poster design to meet the audience's aesthetic Chinese, localization, nationalization of poster design. Secondly, as a customer, company should focus on movie poster design work, training professional poster design talents, to strengthen international exchanges and professional learning, learn from the foreign countries, the formulation of standards, to design personnel to participate in the making of the movie to the poster design is an important part of the whole movie marketing system, there are strict norms for the production process of posters, lean for Fine. In the movie, the designer shall join the film creation team, communicate with the director and actor dialogue, special shooting. Designers in understanding, mastering enough information and data, and then after pondering, research, create on behalf of movie posters of the soul. The whole process. Need to have a complete pattern, process and standard operation. In the process of poster design, the film company shall respect the designer's opinions and suggestions, timely communication, believe their professional, more white space to the designer to design.
The concept of the obvious difference in the background of globalization, the world looking for general film language is the basic requirement of Chinese film life, movie poster design should also pay attention to the strategic research. The transformation idea, the film industry group, such as the combination of film and television, pay attention to the film production, increasing investment domestic large claims, low the cost of national film creation and so on, are based on the change of globalization, face globalization, strengthen communication and good correspondence, is the only way which must be passed China movie must go on. The movie Chinese unremitting creation, awareness of globalization to national self-sufficiency and self-reliance characteristics as the foundation, integration and innovation in twenty-first Century China film will leap new steps art. In the background of globalization, China movie poster design should be artistic, diversified culturefusion and the trend of internationalization development.
According to the collected data, for the study of movie poster design focuses mostly on the movie poster history, style, technique of expression or a visual element, the research content includes: posters of visual elements of text, graphics, the use of color; the three elements of combining ways and visual effect. Studyignored show the movie posters in the different historical period of the social background of the cultural connotation and aesthetic taste, the lack of analysis on the current status of movie poster design and the advantages and disadvantages of the research and the future direction of development, and this kind of research is more realistic. Therefore, considering the present situation of movie poster design and the existing problems and shortcomings, to explore the causes of these phenomena, the depth of analysis solution.
This paper collected a large number of movie posters and literature, journals, papers, books, network information, and other information on the basis of movie posters, representative movie posters were analyzed. The scope of the study in China since the liberation from the movie poster design, poster evolution, function to comprehensive and accurate. This paper is intended to to explore the causes of movieposters functions; analysis of contemporary Chinese movie posters in the background, current situation and development trend. Hope this paper can make some contribution to the Chinese movie poster design, in order to promote the movie poster design actively, the rapid development of a modest.

【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J524.3

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 梁佩;智能卡設(shè)計(jì)的視覺語(yǔ)言應(yīng)用研究[D];湖南師范大學(xué);2013年

本文編號(hào)：1607430