【摘要】：電影,從誕生之日起,就以它獨(dú)特的視覺(jué)魅力贏得了全世界各個(gè)年齡段受眾的喜愛(ài)。而電影海報(bào)是電影的廣告,一開(kāi)始就擔(dān)負(fù)起電影宣傳畫(huà)的作用,是當(dāng)下時(shí)代和社會(huì)環(huán)境的產(chǎn)物。電影海報(bào)依托美術(shù)、繪畫(huà)、攝影、文字等視覺(jué)藝術(shù)手段,其畫(huà)面內(nèi)容準(zhǔn)確預(yù)告了電影劇情,傳達(dá)了影片的思想內(nèi)涵和藝術(shù)訴求。另一方面,它的制作又是時(shí)代的產(chǎn)物,反映了一定社會(huì)背景下的時(shí)代特征和價(jià)值取向。讀圖時(shí)代的到來(lái),對(duì)電影海報(bào)的制作提出了新的要求,它必須給受眾帶來(lái)新的視覺(jué)體驗(yàn)才能完成它電影廣告的職責(zé)。 在現(xiàn)今的視覺(jué)文化研究中,有四個(gè)重要的研究領(lǐng)域：視覺(jué)文本——所有圖像產(chǎn)品都可作為視覺(jué)文本,電影海報(bào)就是一種視覺(jué)文本；視覺(jué)話語(yǔ)——視覺(jué)文化背后的意識(shí)形態(tài)如權(quán)力、欲望等；視覺(jué)建制——比如電影院,視覺(jué)建制指的是關(guān)掉燈的黑暗大廳、投射投射屏幕上的光、座位的設(shè)定與放置；視覺(jué)機(jī)器——主要研究的問(wèn)題是觀看主體的位置、觀看的權(quán)力配置、欲望的投注及視覺(jué)性的構(gòu)成。視覺(jué)場(chǎng)域是非常復(fù)雜的,其中包含著多個(gè)因素,這些因素中,最關(guān)鍵的一個(gè)就是視覺(jué)機(jī)器,視覺(jué)機(jī)器和其它因素相互作用,決定著人們的觀看行為。 視覺(jué)機(jī)器的理論核心是：機(jī)器的本質(zhì)是它的使用,即生產(chǎn)相應(yīng)的產(chǎn)品,并將其傳播出去,進(jìn)而使其達(dá)到或呈現(xiàn)出一種意義效果。而機(jī)器研究要做的工作就是去除機(jī)器的“無(wú)生命性”,而將其物質(zhì)性的“軀體”看作是具有中介性的跳板或媒介,通過(guò)這個(gè)跳板或媒介來(lái)探尋其物質(zhì)性存在和最后呈現(xiàn)的意義效果之間有什么隱秘性聯(lián)系。因此,在著手研究之間,首先需要把機(jī)器的物質(zhì)性存在看作是一個(gè)“文本”,這個(gè)文本同樣有它自身的編碼機(jī)制和能指系統(tǒng),它是一個(gè)欲望陳述裝置,其中各個(gè)零部件按照一定的規(guī)則組合裝配起來(lái)。通過(guò)對(duì)這個(gè)文本進(jìn)行細(xì)致的隱喻性的解讀,解碼出它的編碼機(jī)制,建立起一套完整的代碼轉(zhuǎn)換機(jī)制,這樣才能了解機(jī)器的物質(zhì)性怎樣決定它的意義效果,怎樣決定主體的觀看行為,如果預(yù)設(shè)主體的位置,進(jìn)而完成它的代碼轉(zhuǎn)換。 本文采用內(nèi)容分析這一研究方法,對(duì)讀圖時(shí)代的電影海報(bào)進(jìn)行視覺(jué)文化研究,運(yùn)用視覺(jué)機(jī)器理論對(duì)十六類588張電影海報(bào)進(jìn)行解構(gòu)式批判,將電影看作一個(gè)大的視覺(jué)機(jī)器,而電影海報(bào)屬于這一視覺(jué)機(jī)器中營(yíng)銷系統(tǒng)的一個(gè)功能組件,通過(guò)對(duì)電影海報(bào)的細(xì)節(jié)及其構(gòu)成做隱喻性的閱讀闡釋,以期建立一套代碼轉(zhuǎn)換機(jī)制,完成對(duì)電影視覺(jué)機(jī)器各個(gè)功能組件的解構(gòu)性闡釋。機(jī)器理論對(duì)機(jī)器的解構(gòu)式批判目的不是要將機(jī)器搗毀破壞掉,也不是要重組合并,而是想要在機(jī)器的內(nèi)部像發(fā)生化學(xué)反應(yīng)那樣,將它意義的封閉鏈環(huán)炸掉,揭開(kāi)其意義的神秘面紗,完成意義的解殖民化,‘讓受眾學(xué)會(huì)“反觀”,抽離出來(lái),為受眾擺脫機(jī)器的支配提供一條可能的逃逸路線,自由地選擇反抗或是順從。 本文通過(guò)對(duì)十六類588張電影海報(bào)進(jìn)行內(nèi)容分析后,得出以下三個(gè)結(jié)論：第一,在電影這臺(tái)大的視覺(jué)機(jī)器下,營(yíng)銷功能部件“電影海報(bào)”中主體位置的設(shè)定主要依據(jù)社會(huì)慣例中既定的欲望、幻想和對(duì)象恐懼來(lái)配置；第二,電影海報(bào)的設(shè)計(jì)運(yùn)作主要是利用人的觀看癖,也稱窺視癖,即看和被看都是快感的源泉,來(lái)吸引受眾；第三,在觀看海報(bào)的行為過(guò)程中,主體依次可能進(jìn)行兩個(gè)認(rèn)同,兩層認(rèn)同都完成后,才能進(jìn)入電影的放映系統(tǒng),促成電影的觀看行為。
[Abstract]:Film, from the date of its birth, has won the audience of all ages in the world with its unique visual charm. The movie poster is the advertisement of the film, and it begins with the role of the film propaganda and painting. It is the product of the present era and the social environment. The film posters rely on the visual art means such as beauty, painting, photography, and writing. On the other hand, its production is the product of the times, reflecting the characteristics of the times and the value orientation in a certain social background. The coming of the era of picture reading brings new requirements to the production of movie poster. It must bring new visual body to the audience. It can be done to complete its role in the film advertising.
In the present study of visual culture, there are four important fields of research: visual text - all image products can be used as visual text, film poster is a visual text; visual discourse - the ideology behind visual culture, such as power, desire, and so on; visual construction - such as cinemas, visual system refers to the key. The dark hall of the light, the light on the projective screen, the setting and placement of the seat; the visual machine - the main problems to be studied are the position of the subject, the power to watch, the betting of desire, and the visual composition of the vision. The visual field is very complex and contains many factors, among which the key is the most important. The interaction between visual machines, visual machines and other factors determines people's viewing behavior.
The core of the theory of visual machines is that the nature of a machine is its use, that is, to produce the corresponding product, and to spread it out to make it achieve or present a meaningful effect. And the work of the machine research is to remove the "inanimate" of the machine and see its physical "body" as a mediating springboard or The media, through this springboard or medium, explores the hidden link between its physical existence and the meaning effect of the final presentation. Therefore, in the beginning of the study, the material existence of the machine needs to be regarded as a "text", and the text also has its own encoding mechanism and the signifier system. It is a desire. A statement device, in which each component is assembled in accordance with certain rules. Through a careful and metaphorical interpretation of the text, the encoding mechanism is decode, and a complete set of code conversion mechanism is established to understand how the materiality of the machine decides its meaning and effect and how to determine the viewing line of the main body. For example, if the location of the default body is located, then its code conversion is completed.
This paper uses the method of content analysis to study the visual culture of the film posters in the age of reading. The visual machine theory is used to deconstruct the sixteen types of 588 movie posters, and the film is regarded as a big visual machine. The details and composition of the movie poster are interpreted metaphorically, with a view to establishing a set of code conversion mechanism to complete the deconstruction of the various functional components of the movie visual machine. The machine theory's Deconstruction to the machine is not to destroy the machine, or to reorganize and merge, but to the internal image of the machine. In the case of a chemical reaction, it will blow up the closed chain of its meaning, uncover the mysterious veil of its meaning, complete the decolonization of meaning, "let the audience learn to look back", draw out, provide a possible escape route for the audience to get rid of the control of the machine, and freely choose resistance or obedience.
After analyzing sixteen categories of 588 movie posters, this paper draws the following three conclusions: first, under the visual machine of the movie, the setting of the main position of the marketing function part "movie poster" is mainly based on the established desires, fantasies and object fears in the social conventions; second, the design of the movie poster. The main operation is to use people's viewing addiction, also known as peepia, that is to see and be seen is the source of pleasure to attract the audience; third, in the process of watching the behavior of the posters, the subject may have two identities in turn, and after the completion of the two layers of identity, it can enter the film screening system and promote the viewing behavior of the film.
【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J524.3

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 陳林瓊;;羅蘭·巴特符號(hào)學(xué)理論建構(gòu)及其意義——《符號(hào)學(xué)原理》解讀[J];北方文學(xué)(下半月);2012年04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 韓叢耀;;圖像傳播與文化轉(zhuǎn)向[J];當(dāng)代傳播;2009年04期

4 蘇狀;;中國(guó)視覺(jué)文化傳播研究發(fā)展綜述[J];當(dāng)代傳播;2011年05期

5 王娜;;視覺(jué)傳播中的“情景再現(xiàn)”模式[J];當(dāng)代電視;2007年08期

6 馮奕競(jìng);視覺(jué)文化研究新領(lǐng)域——網(wǎng)絡(luò)視覺(jué)文化[J];電化教育研究;2003年02期

7 葉青青;一個(gè)現(xiàn)代化都市意義的建構(gòu)——關(guān)于上海申博宣傳片的視覺(jué)文化解讀[J];電視研究;2003年09期

8 李芳芳;;經(jīng)典敘事學(xué)理論之綜述[J];大眾文藝;2011年09期

9 余欣;;索象于圖,索理于書(shū):寫(xiě)本時(shí)代圖像與文本關(guān)系再思錄[J];復(fù)旦學(xué)報(bào)(社會(huì)科學(xué)版);2012年04期

10 周憲;視覺(jué)文化與消費(fèi)社會(huì)[J];福建論壇(人文社會(huì)科學(xué)版);2001年02期

，

本文編號(hào)：2168381