本文選題：視覺(jué)邏輯　切入點(diǎn)：文化意義　出處：《中國(guó)藝術(shù)研究院》2012年博士論文　論文類型：學(xué)位論文

【摘要】：“一百年前英國(guó)小說(shuō)家道格拉斯說(shuō)的一句話：透過(guò)廣告可以發(fā)現(xiàn)一個(gè)國(guó)家的理想”在全球化背景下,當(dāng)下的中國(guó)和世界上其他許多國(guó)家一樣正在經(jīng)歷著一次空前激烈、異常深刻的社會(huì)轉(zhuǎn)型。與歷史上出現(xiàn)的其他社會(huì)轉(zhuǎn)型相比,一個(gè)顯著特點(diǎn)就是,文化的作用日益凸顯,已從根本上決定了社會(huì)轉(zhuǎn)型的內(nèi)容和路徑。2近年來(lái)中國(guó)社會(huì)轉(zhuǎn)型與經(jīng)濟(jì)高速增長(zhǎng),民族自信、文化自信隨之高度膨脹。在中西方文化交流激蕩的背景之下,如何以電視廣告這種藝術(shù)形式來(lái)傳播國(guó)家形象,如何以視覺(jué)邏輯的本體視角對(duì)國(guó)家形象廣告作進(jìn)一步的審視?視覺(jué)“轉(zhuǎn)向”之后,中國(guó)國(guó)家形象廣告的視覺(jué)文本在跨文化傳播與接受之中義產(chǎn)生了哪些新的轉(zhuǎn)向或者轉(zhuǎn)譯?進(jìn)行該問(wèn)題的探索,首先需要剖析中國(guó)國(guó)家形象廣告片視覺(jué)本體,找到傳者訴求與受者理想之間的聯(lián)系。其次,在跨文化傳播中傳者與觀者復(fù)合體的傳播和效果之間,又包含著哪些視覺(jué)邏輯關(guān)系。再次,則關(guān)注到文化研究不僅只是英國(guó)伯明翰等西方學(xué)派的研究中心,中國(guó)當(dāng)代的文化現(xiàn)實(shí)與未來(lái)的發(fā)展方向,傳統(tǒng)文化與西方文化的歷史博弈或某種關(guān)聯(lián)是有一定的文化邏輯的。本文試圖發(fā)現(xiàn)一些核心范式,并在中國(guó)語(yǔ)境下,探討視覺(jué)文化現(xiàn)實(shí)發(fā)展之下國(guó)家形象廣告的命運(yùn)方向與動(dòng)向等現(xiàn)實(shí)問(wèn)題。 本文主要思考的問(wèn)題有：一、國(guó)家形象廣告視覺(jué)邏輯向文化邏輯的轉(zhuǎn)譯。二、中國(guó)傳統(tǒng)文化與西方文化交流背景下,國(guó)家形象廣告視覺(jué)邏輯的文化標(biāo)準(zhǔn)問(wèn)題。三、在國(guó)家形象廣告視覺(jué)表述方面,一方面基于國(guó)家層面訴求的一致性,有著普世性法則；另一方面更要關(guān)注到東西方的“視覺(jué)話語(yǔ)差”命題,以及如何消弭與重構(gòu)。本土媒介的歷史、視覺(jué)表述、敘事造型等與域外存在著話語(yǔ)差異。例如中國(guó)媒體上的明星科學(xué)家袁隆平等在西方不被認(rèn)知。是否能在本士訴求與西方語(yǔ)境下找到一個(gè)理想的參照系來(lái)認(rèn)知或者消弭(哪怕是部分消弭)這種話語(yǔ)差異,達(dá)到—個(gè)理想的接受點(diǎn)?中西方視覺(jué)話語(yǔ)的理想?yún)⒄障到y(tǒng)是否有疊合?如果有疊合,發(fā)展可以參閱的歷史軌跡又有哪些,以及在理想?yún)⒄障到y(tǒng)的關(guān)照下是否能產(chǎn)生新的知識(shí)范式? 在研究的范疇上,更接近于“米歇爾將視覺(jué)文化研究視為多學(xué)科研究,把藝術(shù)史、電影研究、媒介研究、大眾文化研究等領(lǐng)域整合起來(lái)”的美學(xué)的視覺(jué)文化研究路徑,同時(shí)認(rèn)同周憲提出的美學(xué)的、歷史的和社會(huì)學(xué)的三種視覺(jué)文化研究的路徑“互相關(guān)聯(lián)不但是可能的,而且是必需的” 這是一個(gè)面向未來(lái)的課題。對(duì)在西方話語(yǔ)疊合之下的視覺(jué)范式,周憲等受西方影響較重,關(guān)注到“視覺(jué)轉(zhuǎn)向”命題,陶東風(fēng)等側(cè)重從文學(xué)角度關(guān)注這種轉(zhuǎn)向。本篇論文則希望在國(guó)家形象廣告角度確立從視覺(jué)邏輯與文化意義的轉(zhuǎn)譯,來(lái)關(guān)注以上命題。
[Abstract]:A hundred years ago British novelist Douglas said, "A nation's ideal can be found through advertising." in the context of globalization, China, like many other countries in the world, is experiencing an unprecedented intensity. Extraordinary profound social transformation. Compared with other social transformations that have taken place in history, a remarkable feature is that the role of culture is becoming increasingly prominent. The content and path of social transformation. 2 in recent years, China's social transformation and rapid economic growth, national self-confidence, cultural self-confidence has been highly inflated. Under the background of the agitation of cultural exchanges between China and the West, How to spread the national image with the artistic form of TV advertisement, and how to further examine the national image advertisement from the perspective of visual logic? After the visual "turn", what new turn or translation does the visual text of Chinese national image advertisement produce in the process of cross-cultural communication and acceptance? To explore this problem, first of all, it is necessary to analyze the visual Noumenon of China's national image advertising film, to find the relationship between the communicator's demand and the recipient's ideal, and secondly, to find the communication and effect between the communicator and the viewer in the cross-cultural communication. Thirdly, it is concerned that cultural research is not only the research center of western school, such as Birmingham, but also the contemporary cultural reality and future development direction of China. There is a certain cultural logic in the historical game or some relationship between traditional culture and western culture. This paper tries to find some core paradigms, and in the Chinese context, This paper discusses the direction and trend of national image advertising under the development of visual culture. The main problems of this paper are as follows: first, the translation of visual logic from national image advertisement to cultural logic; second, the cultural standard of visual logic of national image advertisement under the background of Chinese traditional culture and western cultural exchange. In terms of visual representation of national image advertising, on the one hand, there is universal law based on the consistency of demands at the national level; on the other hand, attention should be paid to the proposition of "poor visual discourse" between the East and the West. And how to eliminate and reconstruct. Local media history, visual representation, There are discourse differences between narrative styling and foreign language. For example, Yuan Longping, a famous scientist in Chinese media, is not recognized in the west. Can we find an ideal frame of reference to recognize or. To eliminate (or even partially eliminate) this difference in utterance, Reach an ideal acceptance point? Is there any overlap in the ideal reference system of visual discourse between China and the West? If there is overlap, what are the historical tracks of development that can be read, and can new knowledge paradigms be generated under the care of the ideal reference system? In the field of research, it is closer to the aesthetic visual culture research path of "Michelle regards visual culture research as a multidisciplinary study, integrates art history, film studies, media studies, mass culture studies and other fields." "it is not only possible, but also necessary" to agree with Zhou Xian's three approaches to the study of visual culture: aesthetic, historical and sociological. This is a future-oriented subject. For the visual paradigm under the superposition of western discourse, Zhou Xian and others are heavily influenced by the West and pay close attention to the proposition of "visual turning". Tao Dongfeng and others pay more attention to this turn from the point of view of literature. This thesis hopes to establish the translation of visual logic and cultural meaning from the perspective of national image advertising to pay attention to the above proposition.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：G206;G122

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 楊鵬;;解讀英語(yǔ)廣告中的視覺(jué)文化[J];重慶科技學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2008年10期

2 王偉明;適應(yīng)與憂慮——對(duì)廣告視覺(jué)文化的思考[J];當(dāng)代傳播;2003年02期

3 韓源;;全球化背景下的中國(guó)國(guó)家形象戰(zhàn)略框架[J];當(dāng)代世界與社會(huì)主義;2006年01期

4 梁婷婷;葛新;;視覺(jué)文化傳播時(shí)代來(lái)臨的前沿思考——中國(guó)首屆視覺(jué)文化傳播國(guó)際學(xué)術(shù)研討會(huì)綜述[J];中國(guó)廣告;2004年09期

5 王實(shí);;韓國(guó)國(guó)家形象尋求突破[J];中國(guó)廣告;2008年12期

6 孫有中;國(guó)家形象的內(nèi)涵及其功能[J];國(guó)際論壇;2002年03期

7 張曉慧;“軟實(shí)力”論[J];國(guó)際資料信息;2004年03期

8 周憲;反思視覺(jué)文化[J];江蘇社會(huì)科學(xué);2001年05期

9 管文虎;;國(guó)家的國(guó)際形象淺析[J];當(dāng)代世界;2006年06期

10 陳佳德;蔡之國(guó);;視覺(jué)文化語(yǔ)境下的電視廣告[J];理論觀察;2005年05期

，

本文編號(hào)：1635584