【摘要】：隨著多媒體技術(shù)的迅速發(fā)展,圖像,色彩及聲音等符號(hào)系統(tǒng)在交際中的作用越來(lái)越明顯。傳統(tǒng)的僅限于語(yǔ)言的語(yǔ)篇分析已不足以對(duì)多模態(tài)語(yǔ)篇進(jìn)行分析。自二十世紀(jì)九十年代起,語(yǔ)篇分析開始轉(zhuǎn)向多模態(tài)的角度,許多語(yǔ)言學(xué)家從社會(huì)符號(hào)學(xué)的角度進(jìn)行多模態(tài)話語(yǔ)研究。其中克瑞斯和勒文以韓禮德的系統(tǒng)功能語(yǔ)法為理論基礎(chǔ),在《圖像閱讀》一書中,提出了以再現(xiàn)意義,互動(dòng)意義和構(gòu)圖意義為核心的視覺(jué)語(yǔ)法理論,為多模態(tài)話語(yǔ)的研究提供了理論基礎(chǔ),推動(dòng)了多模態(tài)話語(yǔ)的發(fā)展。早期的多模態(tài)話語(yǔ)分析集中于靜態(tài)語(yǔ)篇上,比如對(duì)平面廣告或者電影海報(bào)的分析。近些年來(lái),隨著科技的進(jìn)步,視頻廣告尤其是網(wǎng)絡(luò)視頻廣告在人們的生活中越來(lái)越常見(jiàn)。本研究選擇SK-ⅡI在2015年推出的以change destiny為主題的一系列視頻作為語(yǔ)料并挑選出兩個(gè)典型的視頻進(jìn)行多模態(tài)分析。第一個(gè)視頻為品牌代言人湯唯對(duì)這一活動(dòng)主題change destiny的闡述,第二個(gè)視頻是以普通四個(gè)女孩為主角,通過(guò)對(duì)剩女這一話題的探討展現(xiàn)她們?nèi)绾胃淖冏约旱纳顮顟B(tài)。本研究旨在從多模態(tài)的角度對(duì)兩段視頻進(jìn)行全面解讀,從而探究視頻的意義是如何實(shí)現(xiàn)的。因此,本研究以克瑞斯和勒文的視覺(jué)語(yǔ)法以及張德祿的不同模態(tài)間的協(xié)同模式為理論框架,來(lái)分析再現(xiàn)意義,互動(dòng)意義和構(gòu)圖意義如何在這兩段視頻中體現(xiàn)以及這兩段視頻中的視覺(jué)模態(tài)和聽覺(jué)模態(tài)如何相互協(xié)作來(lái)體現(xiàn)視頻整體的意義。對(duì)動(dòng)態(tài)視頻的多模態(tài)分析首先要進(jìn)行轉(zhuǎn)錄,在本研究中,筆者將Baldry和Thibault的轉(zhuǎn)錄理論與張德祿的多模態(tài)分析框架相結(jié)合對(duì)選擇的兩段視頻進(jìn)行轉(zhuǎn)錄。本著意義為主并經(jīng)濟(jì)實(shí)用的原則,本研究以秒為單位將兩段視頻在視覺(jué)上轉(zhuǎn)錄為圖片,以便于對(duì)這兩段視頻進(jìn)行多模態(tài)分析。通過(guò)對(duì)兩個(gè)視頻語(yǔ)篇詳細(xì)的分析,本研究得出如下結(jié)論。第一,針對(duì)視頻中的再現(xiàn)意義,敘事過(guò)程在視頻中的體現(xiàn)多于概念過(guò)程,反應(yīng)過(guò)程的比例最大。視頻中的人物主要通過(guò)眼光這一矢量來(lái)體現(xiàn)彼此的關(guān)系。第二,關(guān)于互動(dòng)意義中的四個(gè)小系統(tǒng),接觸角,社會(huì)距離,角度和情態(tài),視頻中的接觸角主要為提供類,社會(huì)距離主要為近距離,角度采用正面的視角居多。情態(tài)在兩則視頻中的體現(xiàn)有所不同,第一則視頻的情態(tài)由于黑色的背景并不高,第二則視頻則是高情態(tài)。提供類的接觸角把視頻中故事的發(fā)展客觀的呈現(xiàn)給觀眾。近的社會(huì)距離以及正面的視角可以讓觀眾進(jìn)入視頻中的世界從而更深入理解視頻進(jìn)而做出行動(dòng)。第三,構(gòu)圖意義中的信息值,顯著性和框架元素相互作用形成一個(gè)連貫的整體。其中,信息值多為由左右構(gòu)圖帶來(lái)的舊信息與新信息的對(duì)比。視頻用近鏡頭正面的拍攝來(lái)突出視頻中人物的顯著性,用紅色背景和居中的白色大字來(lái)突出品牌和活動(dòng)的主題。最后,視覺(jué)模態(tài)和聽覺(jué)模態(tài)以互補(bǔ)的方式共同構(gòu)建視頻的整體意義,突出主題。
[Abstract]:With the rapid development of multimedia technology, the role of symbolic systems, such as images, colors and sounds, is becoming more and more obvious in communication. Traditional discourse analysis limited to language is not enough to analyze multimodal discourse. Since 1990s, discourse analysis has turned to multimodal angles, and many linguists have been from social characters. On the basis of Hallidy's systemic functional grammar, Chris and Lewen are based on the theoretical basis of Hallidy's systematic functional grammar. In the book of "image reading >", a visual grammatical theory with the core of reproducing meaning, interactive meaning and composition is proposed, which provides a theoretical basis for the study of multimodal discourse and promotes multimodal discourse. Early multimodal discourse analysis focused on static discourse, such as the analysis of flat advertising or movie poster. In recent years, with the progress of science and technology, video advertising, especially online video advertising, is becoming more and more common in people's lives. This study chose SK- II I as the theme of change destiny in 2015. The series of video is used as a corpus and selects two typical videos for multimodal analysis. The first one is the description of the theme change destiny, the brand spokesperson, and the second video is the main character of the four girls. By discussing the topic of leftover women, the author shows how they change their life. The purpose of this study is to fully interpret the two segment of video from a multimodal angle to explore how the meaning of video is realized. Therefore, this study is based on the visual grammar of Chris and Le Wen and the cooperative pattern between Zhang Delu's different modes as the theoretical framework to analyze how the meaning of reproduction, the meaning of interaction and the meaning of the composition are seen in these two segments. In this study, the author combines the Baldry and Thibault's transcriptional theory with Zhang Delu's multimodal analysis framework for the selected two segments of video. Line transcription. Based on the principle of significance and economical and practical, this study transcripts two segments of video into images in seconds to facilitate the multimodal analysis of the two segments of video. Through the detailed analysis of two video texts, this study draws the following conclusions. First, the narrative process is in video for the reproduction significance of the video. More than the conceptual process, the proportion of the reaction process is the largest. The characters in the video are mainly reflected by the eye. Second, about the four small systems in the interactive meaning, the contact angle, the social distance, the angle and the modality, the contact angle in the video is mainly provided, the social distance is mainly close to the distance, and the angle is taken from the angle. The first one is the black background is not high, the second video is the high sentiment. The contact angle provides the objective of the video story to the audience. The close social distance and the positive perspective can let the audience enter the video. Third, the information value, the significance and the frame elements interact to form a coherent whole. Among them, the information value is compared to the old information and the new information from the left and right configurations. Sex, highlight the theme of brand and activity with red background and large white characters in the middle. Finally, visual modality and auditory modality together build the overall meaning of the video in a complementary way, and highlight the theme.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H136

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