新中國宣傳畫創(chuàng)作研究
發(fā)布時(shí)間：2018-08-07 21:08
【摘要】：如今，在人們目之所及的地方，比如城市廣場(chǎng)的廣告欄、通往機(jī)場(chǎng)的“高炮”廣告柱、樓宇的電梯入口及轎廂內(nèi)、地鐵站臺(tái)的墻壁、公交系統(tǒng)的車廂……“戶外廣告”總是撲面而來，觸動(dòng)著人們的消費(fèi)神經(jīng)。研究者們已經(jīng)注意到，從上個(gè)世紀(jì)初以月份牌為主的商業(yè)招貼，如何在新中國成立后慢慢轉(zhuǎn)變成為政治服務(wù)的宣傳畫，又如何在運(yùn)動(dòng)減弱、經(jīng)濟(jì)起飛的年代轉(zhuǎn)向商品宣傳畫，，這些戶外張貼的商品宣傳畫曾經(jīng)存在短暫的輝煌，而當(dāng)媒體的更替讓它們失去附著之后，廣告如何以新的姿態(tài)出現(xiàn)在報(bào)紙、雜志、廣播、電視四種大眾媒體中。 很長(zhǎng)一段時(shí)間，關(guān)于新中國宣傳畫的研究基本上都停留在歷史的梳理方面，創(chuàng)作角度的研究廖若晨星。本文對(duì)新中國宣傳畫創(chuàng)作的研究建立在藝術(shù)創(chuàng)作的內(nèi)容、形式、創(chuàng)作者、接受者的框架上。第一章研究新中國宣傳畫主題與形象的確立，分別從國家意志的顯現(xiàn)、命題式創(chuàng)作、人物形象的確立三個(gè)方面展開；第二章研究新中國宣傳畫的創(chuàng)作形式與表現(xiàn)，分別從簡(jiǎn)明有力的標(biāo)題、聚焦明確的畫面、直觀形象的表達(dá)、多樣化的創(chuàng)作手法四個(gè)方面展開；第三章研究新中國宣傳畫的作者、受眾與傳播途徑，作者研究從新中國宣傳畫創(chuàng)作隊(duì)伍的構(gòu)成，蘇聯(lián)、波蘭、羅馬尼亞等國家宣傳畫對(duì)中國畫家的影響，一個(gè)有代表性的中國宣傳畫創(chuàng)作群體三方面展開。受眾研究從新中國宣傳畫的受眾主體是人民大眾、人民大眾接受的心理特征、人民大眾對(duì)宣傳畫的接受與反饋三個(gè)方面展開。傳播途徑研究概括了新中國宣傳畫傳播的四種主要途徑。 本文的研究旨在為如今的宣傳畫與廣告創(chuàng)作提供一些借鑒價(jià)值，并且希望引起人們思考：如今，我們?nèi)绾斡眯麄鳟嫞ɑ蛟弧罢匈N”、“海報(bào)”），或者隨著時(shí)代的發(fā)展、科技的進(jìn)展出現(xiàn)的宣傳影片、在互聯(lián)網(wǎng)上傳播的數(shù)字影像等，來塑造國家和公民的形象、傳播主流價(jià)值觀？如何讓老百姓更容易接受、收到較好的傳播效果？或者更廣泛地說，當(dāng)今時(shí)代的藝術(shù)該如何擔(dān)負(fù)宣傳的責(zé)任，解決好以上的問題？
[Abstract]:Today, in places as far as people can see, such as the advertising bar in the city square, the "anti-aircraft gun" advertising post leading to the airport, the elevator entrance and the car in the building, the walls of the subway platform, and the carriages of the public transport system. "Outdoor advertising" is always coming, touching people's consumer nerves. Researchers have noticed how business posters, which were dominated by monthly signs at the beginning of the last century, have slowly turned into posters for political services after the founding of New China, and how they have shifted to commodity posters in times of weakening movement and economic take-off. There was a brief splendor in these outdoor posters, but when the media lost their attachment, the ads appeared in four kinds of mass media: newspapers, magazines, radio and television. For a long time, the study of New China posters basically stayed in the history of combing, the creative angle of research Liao Ruoxing. The research of this paper is based on the framework of the content, form, creator and receiver of the artistic creation. The first chapter studies the establishment of the theme and image of the new China posters, respectively from the national will of the manifestation, propositional creation, the establishment of the character image, the second chapter studies the new China propaganda painting creation form and performance, Respectively from the concise and powerful title, focusing on the clear picture, the expression of visual image, the variety of creative techniques. Chapter three studies the author, audience and communication channels of New China posters. The author studies the composition of the creative team of the new Chinese posters, the influence of the Soviet Union, Poland, Romania and other countries on Chinese painters, and a representative group of Chinese posters. The audience research is carried out from three aspects: the main body of the audience of the posters in New China is the masses, the psychological characteristics accepted by the masses, and the acceptance and feedback of the posters by the masses of the people. The study of communication approaches summarizes the four main ways of spreading posters in New China. The purpose of this study is to provide some reference value for today's posters and advertisement creation, and to make people think about how to use posters (or "posters", "posters") or as the times go by. Technology advances in the emergence of propaganda films, the spread of digital images on the Internet, to shape the image of the country and citizens, the dissemination of mainstream values? How to make it easier for the common people to accept and receive better communication results? Or, more broadly, how should the art of our time take on the responsibility of propagandizing and solving the above problems?
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：J209.2
本文編號(hào)：2171349
[Abstract]:Today, in places as far as people can see, such as the advertising bar in the city square, the "anti-aircraft gun" advertising post leading to the airport, the elevator entrance and the car in the building, the walls of the subway platform, and the carriages of the public transport system. "Outdoor advertising" is always coming, touching people's consumer nerves. Researchers have noticed how business posters, which were dominated by monthly signs at the beginning of the last century, have slowly turned into posters for political services after the founding of New China, and how they have shifted to commodity posters in times of weakening movement and economic take-off. There was a brief splendor in these outdoor posters, but when the media lost their attachment, the ads appeared in four kinds of mass media: newspapers, magazines, radio and television. For a long time, the study of New China posters basically stayed in the history of combing, the creative angle of research Liao Ruoxing. The research of this paper is based on the framework of the content, form, creator and receiver of the artistic creation. The first chapter studies the establishment of the theme and image of the new China posters, respectively from the national will of the manifestation, propositional creation, the establishment of the character image, the second chapter studies the new China propaganda painting creation form and performance, Respectively from the concise and powerful title, focusing on the clear picture, the expression of visual image, the variety of creative techniques. Chapter three studies the author, audience and communication channels of New China posters. The author studies the composition of the creative team of the new Chinese posters, the influence of the Soviet Union, Poland, Romania and other countries on Chinese painters, and a representative group of Chinese posters. The audience research is carried out from three aspects: the main body of the audience of the posters in New China is the masses, the psychological characteristics accepted by the masses, and the acceptance and feedback of the posters by the masses of the people. The study of communication approaches summarizes the four main ways of spreading posters in New China. The purpose of this study is to provide some reference value for today's posters and advertisement creation, and to make people think about how to use posters (or "posters", "posters") or as the times go by. Technology advances in the emergence of propaganda films, the spread of digital images on the Internet, to shape the image of the country and citizens, the dissemination of mainstream values? How to make it easier for the common people to accept and receive better communication results? Or, more broadly, how should the art of our time take on the responsibility of propagandizing and solving the above problems?
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：J209.2
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