平面广告中的女性符号及文化意义
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摘要
不同的时代文化背景,有不同的价值观念,就会相应有不同的审美观念,不同的社会审美心理需求变化就会塑造不同女性符号。选择“女性符号”这个课题,除了自身的兴趣和性别优势外,庞大的女性群体的崛起,女性意识的不断增强,女权主义思想逐步深入人心,女性在社会活动中的地位和成就,促使女性开始去面对自己的内心需求,从内心建立起一种自信,这给广告带来巨大震撼,广告开始针对女性为主体进行诉求,坦诚表露女性真实的情感需求和内心感受。本文从月份牌海报中的摩登女郎到文革时期宣传画中的铁姑娘再到当代平面广告中的多元化女性符号,探讨中国不同时代平面广告的社会背景和社会意识形态、价值观念、审美观念、受众需求等方面的发展变化,对中国不同时期平面广告中的女性符号的表现形式、表现内容的影响。从不同的艺术形式和艺术流派、不同时期的设计理念的变化都对平面广告中女性符号创意表现有影响,提高平面广告设计中女性符号的表现力度,审美内涵。从符号学的研究角度,以一种新的视角,新的角度去看待平面广告设计中的女性符号,在寻求新的表现形式,并探讨现代平面广告中女性符号如何与广告去和谐发展,为丰富平面广告设计中女性符号表现形式做出自己的贡献。平面广告中女性符号应该以健康的、积极的、具有美感的形象出现在公众面前,表现女性的自尊、自信、独立的精神面貌,表现富有活力、异彩纷呈的女性形象。对于在平面广告中运用女性符号,应取积极而又审慎的态度,需要注意女性符号的能指与所指的关系,外在与内涵的关系,处理好女性符号表达的合理性和有效性,在设计实践中注意女性符号应用中“度”的表达与把握。广告反映着时代的变化,广告中的女性符号不仅是视觉图像符号,而且也是特定的社会文化符号,女性符号所象征的文化意义不容忽视。具有独立个性,兼美丽、自信、智慧、勇敢、独立的多元化的品质,具有丰富价值观,富于审美趣味的女性符号将成为未来广告的发展趋势和方向。
There are different value concepts and corresponding aesthetic concepts in different time’s background, which will mold different female symbols. Choosing the topic of female symbols is my interest and gender advantage. Besides, because of rising of female group, continuous enhancement of female Consciousness and the feminism thought being rooted in the hearts of the people , female have hold position and achievement in society. Female began to face the inner requirement. They build self-confidence from heart, which will bring great convulse to advertisement. Advertisement began to study female for express women’s true feeling. This paper will study development and change of different time’s social background and Consciousness, value concepts, aesthetic concepts and people’s request of graphic advertisements. The materials are modern girls who are form calendar poster, Cultural Revolution’s poster and female symbols of graphic advertisements. What’s more, this paper will study form of expression and performance content of female symbols in different times. Different art forms and schools and change of design conception in different period will affect creativity performance of female symbols, which will improve show strength and aesthetic connotation of female symbols. This paper will make good use of new study angle of semi logy to observe female symbols in graphic advertisements and find new performance. This paper will study harmonious development between female symbols and advertisements to enrich expression form. Female symbols should come out with healthy, positive and beautiful image in graphic advertisements before public. Female symbols should express mental outlook of female esteem, confidence and independent and vigor female image. We should take cautious attitude and notice the relationship between signifier and signified of female symbols. We should do with extension and connotation of female symbols and rationality and validity of female symbol representation. Advertisements reflect the change of time. Female symbols in advertisements are not only Visual image symbol, but also specific society culture symbol. We should not neglect meaning of symbolization .Female symbols having independent personality,with beauty, confidence, wisdom, bravery will become developing trend and direction of advertisements in future.
There are different value concepts and corresponding aesthetic concepts in different time’s background, which will mold different female symbols. Choosing the topic of female symbols is my interest and gender advantage. Besides, because of rising of female group, continuous enhancement of female Consciousness and the feminism thought being rooted in the hearts of the people , female have hold position and achievement in society. Female began to face the inner requirement. They build self-confidence from heart, which will bring great convulse to advertisement. Advertisement began to study female for express women’s true feeling. This paper will study development and change of different time’s social background and Consciousness, value concepts, aesthetic concepts and people’s request of graphic advertisements. The materials are modern girls who are form calendar poster, Cultural Revolution’s poster and female symbols of graphic advertisements. What’s more, this paper will study form of expression and performance content of female symbols in different times. Different art forms and schools and change of design conception in different period will affect creativity performance of female symbols, which will improve show strength and aesthetic connotation of female symbols. This paper will make good use of new study angle of semi logy to observe female symbols in graphic advertisements and find new performance. This paper will study harmonious development between female symbols and advertisements to enrich expression form. Female symbols should come out with healthy, positive and beautiful image in graphic advertisements before public. Female symbols should express mental outlook of female esteem, confidence and independent and vigor female image. We should take cautious attitude and notice the relationship between signifier and signified of female symbols. We should do with extension and connotation of female symbols and rationality and validity of female symbol representation. Advertisements reflect the change of time. Female symbols in advertisements are not only Visual image symbol, but also specific society culture symbol. We should not neglect meaning of symbolization .Female symbols having independent personality,with beauty, confidence, wisdom, bravery will become developing trend and direction of advertisements in future.
引文
[1]黄梅.跟着广告走?[N].中国妇女报,1995,11(22)
[2]董学文等译.罗兰·巴特:符号学美学[M].沈阳:辽宁人民出版社,1987:35.
[3]李砚祖,芦影.平面设计艺术[M].北京:中国人民大学出版,2005:87.
[4]黑格尔.美学.第一卷.北京:商务印书馆,1986:39.
[5]李慧英.女性形象:作为文化的载体——用性别意识的眼光审视电视剧中的女性形象[M].南京:南京大学出版社,1998:319.
[7]邓明,高艳.老月份牌年画:最后一瞥[M].上海:上海画报出版社,2003:9.
[8]王庆淑.中国传统习俗中的性别歧视[M].北京:北京大学出版社,1995:
[9]廖雯.女性艺术-女性主义作为方式[M].吉林美术出版社,2000:61.
[10]余虹,邓正强.中国当代广告史[M].湖南科学技术出版社,2000:39.
[11]许俊基.中国广告史[M].北京:中国传媒大学出版社,2006: 247.
[12]唐·E·舒尔茨.整合营销传播[M].北京:中国物价出版社,2002:21.
[13]王至元等译.科林伍德:艺术原理[M].北京:中国社会科学出版社,1985:140.
[14]赵希武,常慧娟,蔡恒.不走独木桥——浅谈设计的多元化[J].美与时代, 2006,1:
[15]肖巍.女性主义关怀伦理学[M].北京:北京出版社,1999年10月
[16]张琰.从女性主义视角探析平面设计中的女性特质[D].江苏省无锡:江南大学,2009:
[17]第五次全国人口普查公报(第1号)
[18]马中红.被广告的女性-女性形象传播的权利话语研究[M].北京:新华出版社,2009:
[19]李砚祖.艺术与科学卷六[A].见:李乐山.现代设计审美观念[M].北京∶清华大学出版社,2007:10-11.
[20]奥美集团.沸腾女人心—亚洲母亲真我内心调查[J].国际广告,1998 (12)
[21]杭海.现代广告设计创意与表现[M].西安交通大学出版社2003:
[22]乔治·路易斯.蔚蓝诡计[M].海南出版社1996年:244.
1黄梅.跟着广告走?[N].中国妇女报,1995,11(22)
2董学文等译.罗兰?巴特:符号学美学[M].沈阳:辽宁人民出版社,1987:35.
3李砚祖,芦影.平面设计艺术[M].北京:中国人民大学出版,2005:87.
4黑格尔.美学.第一卷.北京:商务印书馆,1986:39.
5邓明,高艳.老月份牌年画:最后一瞥[M].上海:上海画报出版社,2003:9.
6王庆淑.中国传统习俗中的性别歧视[M].北京:北京大学出版社,1995:
7余虹,邓正强.中国当代广告史[M].湖南科学技术出版社,2000:39.
8许俊基.中国广告史[M].北京:中国传媒大学出版社,2006: 247.
9唐?E?舒尔茨.整合营销传播[M].北京:中国物价出版社,2002:21.
10张琰.从女性主义视角探析平面设计中的女性特质[D].江苏省无锡:江南大学,2009:
11第五次全国人口普查公报(第1号)
12马中红.被广告的女性-女性形象传播的权利话语研究[M].北京:新华出版社,2009:
13王至元等译.科林伍德:艺术原理[M].北京:中国社会科学出版社,1985:140.
14赵希武,常慧娟,蔡恒.不走独木桥——浅谈设计的多元化[J].美与时代,2006,1:
15李慧英.女性形象:作为文化的载体——用性别意识的眼光审视电视剧中的女性形象[M]. 南京:南京大学出版社,1998:319.
16李砚祖.艺术与科学-卷六[A].见:李乐山.现代设计审美观念[M].北京∶清华大学出版社,2007:10-11.
17奥美集团.沸腾女人心—亚洲母亲真我内心调查[J].国际广告,1998 (12)
18杭海.现代广告设计创意与表现[M].西安交通大学出版社2003:
19乔治?路易斯.蔚蓝诡计[M].海南出版社1996:244.
[2]董学文等译.罗兰·巴特:符号学美学[M].沈阳:辽宁人民出版社,1987:35.
[3]李砚祖,芦影.平面设计艺术[M].北京:中国人民大学出版,2005:87.
[4]黑格尔.美学.第一卷.北京:商务印书馆,1986:39.
[5]李慧英.女性形象:作为文化的载体——用性别意识的眼光审视电视剧中的女性形象[M].南京:南京大学出版社,1998:319.
[7]邓明,高艳.老月份牌年画:最后一瞥[M].上海:上海画报出版社,2003:9.
[8]王庆淑.中国传统习俗中的性别歧视[M].北京:北京大学出版社,1995:
[9]廖雯.女性艺术-女性主义作为方式[M].吉林美术出版社,2000:61.
[10]余虹,邓正强.中国当代广告史[M].湖南科学技术出版社,2000:39.
[11]许俊基.中国广告史[M].北京:中国传媒大学出版社,2006: 247.
[12]唐·E·舒尔茨.整合营销传播[M].北京:中国物价出版社,2002:21.
[13]王至元等译.科林伍德:艺术原理[M].北京:中国社会科学出版社,1985:140.
[14]赵希武,常慧娟,蔡恒.不走独木桥——浅谈设计的多元化[J].美与时代, 2006,1:
[15]肖巍.女性主义关怀伦理学[M].北京:北京出版社,1999年10月
[16]张琰.从女性主义视角探析平面设计中的女性特质[D].江苏省无锡:江南大学,2009:
[17]第五次全国人口普查公报(第1号)
[18]马中红.被广告的女性-女性形象传播的权利话语研究[M].北京:新华出版社,2009:
[19]李砚祖.艺术与科学卷六[A].见:李乐山.现代设计审美观念[M].北京∶清华大学出版社,2007:10-11.
[20]奥美集团.沸腾女人心—亚洲母亲真我内心调查[J].国际广告,1998 (12)
[21]杭海.现代广告设计创意与表现[M].西安交通大学出版社2003:
[22]乔治·路易斯.蔚蓝诡计[M].海南出版社1996年:244.
1黄梅.跟着广告走?[N].中国妇女报,1995,11(22)
2董学文等译.罗兰?巴特:符号学美学[M].沈阳:辽宁人民出版社,1987:35.
3李砚祖,芦影.平面设计艺术[M].北京:中国人民大学出版,2005:87.
4黑格尔.美学.第一卷.北京:商务印书馆,1986:39.
5邓明,高艳.老月份牌年画:最后一瞥[M].上海:上海画报出版社,2003:9.
6王庆淑.中国传统习俗中的性别歧视[M].北京:北京大学出版社,1995:
7余虹,邓正强.中国当代广告史[M].湖南科学技术出版社,2000:39.
8许俊基.中国广告史[M].北京:中国传媒大学出版社,2006: 247.
9唐?E?舒尔茨.整合营销传播[M].北京:中国物价出版社,2002:21.
10张琰.从女性主义视角探析平面设计中的女性特质[D].江苏省无锡:江南大学,2009:
11第五次全国人口普查公报(第1号)
12马中红.被广告的女性-女性形象传播的权利话语研究[M].北京:新华出版社,2009:
13王至元等译.科林伍德:艺术原理[M].北京:中国社会科学出版社,1985:140.
14赵希武,常慧娟,蔡恒.不走独木桥——浅谈设计的多元化[J].美与时代,2006,1:
15李慧英.女性形象:作为文化的载体——用性别意识的眼光审视电视剧中的女性形象[M]. 南京:南京大学出版社,1998:319.
16李砚祖.艺术与科学-卷六[A].见:李乐山.现代设计审美观念[M].北京∶清华大学出版社,2007:10-11.
17奥美集团.沸腾女人心—亚洲母亲真我内心调查[J].国际广告,1998 (12)
18杭海.现代广告设计创意与表现[M].西安交通大学出版社2003:
19乔治?路易斯.蔚蓝诡计[M].海南出版社1996:244.