电影海报的视觉文化研究

发布时间：2018-08-06 17:03

【摘要】：电影,从诞生之日起,就以它独特的视觉魅力赢得了全世界各个年龄段受众的喜爱。而电影海报是电影的广告,一开始就担负起电影宣传画的作用,是当下时代和社会环境的产物。电影海报依托美术、绘画、摄影、文字等视觉艺术手段,其画面内容准确预告了电影剧情,传达了影片的思想内涵和艺术诉求。另一方面,它的制作又是时代的产物,反映了一定社会背景下的时代特征和价值取向。读图时代的到来,对电影海报的制作提出了新的要求,它必须给受众带来新的视觉体验才能完成它电影广告的职责。在现今的视觉文化研究中,有四个重要的研究领域：视觉文本——所有图像产品都可作为视觉文本,电影海报就是一种视觉文本；视觉话语——视觉文化背后的意识形态如权力、欲望等；视觉建制——比如电影院,视觉建制指的是关掉灯的黑暗大厅、投射投射屏幕上的光、座位的设定与放置；视觉机器——主要研究的问题是观看主体的位置、观看的权力配置、欲望的投注及视觉性的构成。视觉场域是非常复杂的,其中包含着多个因素,这些因素中,最关键的一个就是视觉机器,视觉机器和其它因素相互作用,决定着人们的观看行为。视觉机器的理论核心是：机器的本质是它的使用,即生产相应的产品,并将其传播出去,进而使其达到或呈现出一种意义效果。而机器研究要做的工作就是去除机器的“无生命性”,而将其物质性的“躯体”看作是具有中介性的跳板或媒介,通过这个跳板或媒介来探寻其物质性存在和最后呈现的意义效果之间有什么隐秘性联系。因此,在着手研究之间,首先需要把机器的物质性存在看作是一个“文本”,这个文本同样有它自身的编码机制和能指系统,它是一个欲望陈述装置,其中各个零部件按照一定的规则组合装配起来。通过对这个文本进行细致的隐喻性的解读,解码出它的编码机制,建立起一套完整的代码转换机制,这样才能了解机器的物质性怎样决定它的意义效果,怎样决定主体的观看行为,如果预设主体的位置,进而完成它的代码转换。本文采用内容分析这一研究方法,对读图时代的电影海报进行视觉文化研究,运用视觉机器理论对十六类588张电影海报进行解构式批判,将电影看作一个大的视觉机器,而电影海报属于这一视觉机器中营销系统的一个功能组件,通过对电影海报的细节及其构成做隐喻性的阅读阐释,以期建立一套代码转换机制,完成对电影视觉机器各个功能组件的解构性阐释。机器理论对机器的解构式批判目的不是要将机器捣毁破坏掉,也不是要重组合并,而是想要在机器的内部像发生化学反应那样,将它意义的封闭链环炸掉,揭开其意义的神秘面纱,完成意义的解殖民化,‘让受众学会“反观”,抽离出来,为受众摆脱机器的支配提供一条可能的逃逸路线,自由地选择反抗或是顺从。本文通过对十六类588张电影海报进行内容分析后,得出以下三个结论：第一,在电影这台大的视觉机器下,营销功能部件“电影海报”中主体位置的设定主要依据社会惯例中既定的欲望、幻想和对象恐惧来配置；第二,电影海报的设计运作主要是利用人的观看癖,也称窥视癖,即看和被看都是快感的源泉,来吸引受众；第三,在观看海报的行为过程中,主体依次可能进行两个认同,两层认同都完成后,才能进入电影的放映系统,促成电影的观看行为。
[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.
【学位授予单位】：西北大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J524.3

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