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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4824


    Title: 陳子福電影海報研究
    Authors: 陳雅雯;Ya-Wen Chen
    Contributors: 藝術學研究所
    Keywords: 台語片;電影海報;陳子福
    Date: 2003-06-20
    Issue Date: 2009-09-22 09:33:37 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 提要 本文以陳子福自1950 到1970 年代所製作的電影海報為研究對象,總數525 幅海 報,橫跨整個台語片的黃金時期,並兼及其他的影片類型,構成一個視覺圖像資 料庫,本文希望從這些海報作品中,找到一些視覺策略的運作模式,並討論這些 模式的表現方式及其意涵。進一步呈現出近三十年來的電影史、設計史的變貌, 以及特定時期裡台灣庶民文化的現象觀察。 本文並不以台語電影史為研究題材,但這批海報有半數以上是台語電影海報(共 269 幅),與台語片所佔據的社會空間有大片重疊,台語片從語言、流行性格等 所承襲的一些性質,是否反映在台語片海報上?在海報形式與台語片的命運興衰 之間,對應的關係是平行或歧出?這是本論文的處理對象之一。 第一章從戰後台灣電影的歷史面貌、電影海報的基本性質、台灣電影海報的生長 環境三個面向探討陳子福電影海報的特定歷史條件。第二章則對陳子福的海報作 品進行形式分析,本章援引類型電影的分析理論,探討各類型電影海報的製作風 格,從構圖方式,筆觸,人物表現,色彩,借用元素與消化、融合元素的能力等 層面的綜合分析,進而統整性歸納出製作法則。第三章說明陳子福海報的圖像策 略:模仿,代換,拼貼。從拼貼策略延伸出來的現象與發展,可以追索出陳子福 個人風格成型的軌跡。到了國語武俠片時代,他以單色速寫筆法與武俠片強調動 與力的影片精神相合,雖然在構圖思考上仍屬於拼貼方向,但是已經能夠涵納影 片精神與筆法風格於一整體。 本文將陳子福的電影海報視為一具有開放性格的庶民文化文本,尤其根植於戰後 喧嘩的文化土壤,以圍繞著這批海報的歷史事實為基礎,聚焦於其風格發展的軌 跡。從模仿,代換到拼貼,陳子福以自學的視覺學習方式,跨出了庶民文化的範 疇,以實驗性的精神,向學院繪畫進行探觸,尤其他對手繪方式的堅持,更是他 自認是一位畫家的依據,從製作海報到創造繪畫之間的轉變需要自覺,陳子福在 自覺支撐下,達成了形式技巧的成熟,其作品價值建立於對影片精神的忠實再 現,並兼具個人創造力的表現。 Abstract The theme of my thesis is to analyze the style of Chen Zi-fu’s film posters. These posters, dated back from 1950s to 1970s, during which the lost Taiwanese films and the glorious days of mandarin martial art movies were thriving, represent the traces of the golden era of Taiwan film history. As a folk art with unrestrained vitality, these posters are worthy of rediscovering and reevaluating. Base on the great amount of film history materials, this thesis attempts to discover the pattern of visual strategy and meanings of Chen Zi-Fu’s film posters; furthermore, it simultaneously reflects the changing phenomena of film history, design history and popular culture of Taiwan at that time. The first chapter outlines the historical condition of Chen Zi-Fu’s movie posters. Not only the development of commercial design is focused, but also the discussion of the essence of movie poster is emphasized. The second chapter analyses the form of Chen Zi-Fu’s posters. The Genre theory of film criticisms is primarily adopted to differentiate various kinds of these posters. The following chapter examines the composition elements of Chen Zi-Fu’s movie posters. In particular, foreign posters (especially Japanese movie posters) are the important source for Chen Zi-Fu to take reference. By comparing his works with foreign posters, three visual strategies are discovered: imitation, replacement and collage. For Chen Zi-fu, his skills in collage come to the phase of maturity in 1960s, which leads his poster works to mature stage. His maturity in painting posters, expressed by the powerful movements through the wild and strong brushstroke, was explicitly shown in mandarin martial art movies posters. As a product of popular culture, Chen’s film posters have its roots stem from the fruitful environment of Taiwan culture after WWⅡ. I apply historical facts of film industry to seek for the traces of the development of Chen’s styles from imitation, replacement to the collage. By his learning process, one could readily meet his insistence on hand-painted way to make posters and his experiment in the academic paintings. With self-awareness, Chen develops his works to make a transition from commercial posters to work of art. Not only the spirits of films are faithfully represented, but his personal creativities are fully expressed.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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