论中国当代电影海报设计的演变
摘要
电影是二十世纪最伟大和最具影响的发明之一，从诞生至今，已经有一百多年的历史，它曾经在人类社会活动中扮演十分重要的角色。电影的宣传方式有很多种，电影海报作为最早最直接的宣传媒介之一，具有鲜明的时代性，承载着电影的发展与变化。它既综合反映当下时代的经济、政治、文化；也体现绘画、设计的时代缩影，有着不可替代的重要位置。有人说：电影海报是电影的一张名片，一幅广告，是电影内容和主题高度浓缩的产物。一幅优秀的电影海报可以提升电影的艺术品位，成为电影内容所表现的某种文化的象征性代表，甚至能够作为观念交流的载体，可以将不同地域和文化背景的人的共通性意念通过图形化方式表现出来，达到心灵之间的直接沟通。
不同的时代，人们对美的感受有不同的认识和理解，而且，审美在时代的变迁中，也会提出不同的新要求。时代的变迁就是时代文化的体现，在每个时代都具有其特征与特定的文化现象，在各个领域有着不同的表现方式，在政治、经济、文化上有着不同的反映，所以，人们的审美需求反映的是当时整体的时代特征。
整个20世纪的中国电影，经历了从无声到有声，从黑白到彩色，从模拟到数字，从传统到现代技术的变革进程。在这几个不同的发展阶段中，中国电影伴随着国家的现代化进程，以特有的影像表现方式，记录了中国社会的变迁，成为人们喜爱的大众娱乐形式。电影海报作为电影的衍生品，在不同的历史时期内，扮演着重要的角色。除了电影海报本身所具有的传递信息、艺术审美和历史文化的功能，电影海报作为一种大众文化，在各个阶段都带着不同的功能特征出现在历史的舞台上。
新世纪的中国电影进入到前所未有的发展时期，电影的商业化趋势，成为电影产业发展的主流，同时也带动了电影产业的发展。电影海报是商业化运作中的重要角色，越来越受到电影公司的关注。而作为一种艺术样式，电影海报既要受制于美的规律；同时，它作为一种有效的大众传播媒体，又被制定担负国家意识形态使命，三重身份的交织,新世纪的中国电影呈现出一种多元化走向,各种电影形态在共存状态中,选择着各自的电影运作策略和电影消费市场,为自己的生存定位。
审视当代中国电影，面对加入WTO，国内电影界迫切期待改变目前电影票房低迷和急于应对世界环境的心态，不是胸有成竹的应对压力，而是急于寻求改变。以至于目前国内电影市场上出现，海报设计雷同、抄袭、及明星“大头照”现象；电影海报设计过度追求商业价值缺乏艺术审美性、海报设计模式化、世俗化等现象十分严重。
面对这些问题，应当从源头解决，重视对电影海报设计，将这个行业规范化操作。首先，作为设计师，应当加强专业知识学习与自身文化修养的提高，关注细节设计，及时与客户沟通解释，力求达到商业与艺术的完美结合；要对自己的工作负责，不能随意照搬照抄其他作品。海报设计要符合中国观众的审美，将海报设计本土化、民族化。其次，作为客户，电影公司应当注重海报设计工作，培养专业的海报设计人才，加强国际间的交流和专业学习，向国外借鉴，制定标准，让设计人员参与到电影的制作当中去。海报设计是整个电影营销系统中重要的一环，对于制作海报的流程有严谨的规范，精益求精。在电影拍摄前，设计师就应当加入电影创作团队当中，与导演沟通、演员进行对话，进行专门的拍摄工作。设计师在了解、掌握了足够的信息和资料之后，再经过反复揣摩、研究，创作出能代表电影灵魂的宣传海报。整个过程，需要有一套完整的模式、流程、标准操作。在进行海报设计的过程中，电影公司应当尊重设计师的意见和建议，及时沟通，相信其专业性，多给设计师留出空间去设计。
全球化的背景中明显存在观念的差异，寻找世人通用的电影表现语言是中国电影生存的基本要求，电影海报设计也应当注重策略研究。转化观念，电影业的集团化，比如影视的联合，重视电影产品的生产，加大资金投入国产大片的主张，低成本民族电影创作等等，都是基于全球化思维转变的基础上，勇敢面对全球化，加强沟通并善于对应，是中国电影必须走下去的必由之路。中国电影的不懈创造，全球化意识以民族自足、自立的特色为根基，融合创新21世纪中国电影必定会跃上艺术新台阶。在全球化的大背景中，中国的电影海报设计应具艺术性、多元化、文化性融合与国际化的趋势发展。
根据收集的资料来看，对于电影海报设计的研究大多集中在对电影海报的历史、风格、表现手法或者某种视觉元素上，研究内容包含有：海报视觉元素中的文字、图形、色彩的运用；这三种元素视觉的结合方式与效果等。研究中忽视了电影海报在不同历史时期的社会背景下表现出的文化内涵和审美体味，缺乏对当下电影海报设计现状以及优缺点分析，以及未来发展方向的研究，而此类研究则更具有现实意义。因此，本文针对目前电影海报设计现状及存在的问题和不足，极力探寻造成这些现象的原因，深度剖析解决之道。
本文在收集大量与电影海报相关的文献、期刊、论文、著作、网络资料、电影海报等资料的基础上，选取具有代表性的电影海报进行分析。研究范围是从我国解放以来至今电影海报设计、海报功能的演变，以求全面、准确。本文意在探求导致电影海报功能演变的原因；分析当代中国电影海报所处背景、现状和发展趋势。希望本文的撰写能够为我国电影海报设计做出一些贡献，为促进电影海报的设计积极、快速发展尽微薄之力。
The movie is the twentieth century the greatest and most influential one of the invention, from birth,so far, has a history of over one hundred years, it was in the human society activities plays very importantrole. The movie propaganda way has a lot of kinds, movie posters as the first to one of the most directpublicity media, characterized by The Times, bearing the change and development of the movie. It is thecomprehensive reflection of the era of economic, political, and cultural; Also reflect a painting, era ofdesign miniature, has the irreplaceable important position. Someone says: movie posters of the movie is apiece of calling card, one of the advertising, is the movie contents and topic highly concentrated product. Agood movie posters can improve the artistic grade of film, become a movie content showed a culturalsymbolic representative, can even as a concept as a vehicle for communication, and can be differentregional and cultural background convergence thoughts through the graphical way to communicate directlybetween the heart.
The different times, people, the experience of beauty have different understanding and theunderstanding, and aesthetic in the changes of The Times, also can put a different new requirements. Thechanges of The Times is the embodiment of the era culture, in every age has its characteristics and thespecific cultural phenomenon, in all area has different ways, in political, economic, and cultural has adifferent reaction, and so, people's aesthetic demand reflects the overall features of The Times at that time.
The whole of the20th century Chinese movies, has experienced from the silent to audio, from blackand white to color, from analog to digital, from tradition to modern technology revolution process. In theseveral different phase of development, China's movie with national modernization process, with a uniqueimage expression, and records the China, the change of society become a favorite form of massentertainment. Movie posters as a movie's derivatives, in the different historical period, playing animportant role. In addition to movie posters itself is delivering information, art aesthetic and historicalcultural function, movie posters, as a kind of popular culture, at each stage of the function with differentcharacteristics in history stage.
The new century Chinese movies into the unprecedented development period, the film's commercialtrend, become the mainstream of the film industry development, at the same time also contributed to the film industry. Movie posters is the important role commercialized operation, more and more get theattention of film company. And as a style of art, film posters both subject to beauty rule; At the same time,as a kind of effective mass media, and be responsible for formulated national ideology mission, tripleidentity intertexture, new century of China film presented a kind of diversity to, all kinds of movies formcoexist in the state, the choice of their movie operation strategy and movie consumer market, for his ownsurvival positioning.
Examines contemporary Chinese film, face the accession to the WTO, China urgently looking forwardto change the current film industry movie box office downturn and eager to deal with the worldenvironment state of mind, not have answers to cope with the pressure, but seek to make a change. That atpresent domestic film appeared on the market, poster design identical, plagiarism, and star\"big head as\"phenomenon; Movie poster design excessive pursuing business value lack of artistic aesthetic, posterdesign stereotyped, the phenomenon such as secularization is very serious.
Facing these problems, from the source should be solved, attach importance to the movie poster design,will the industry standard operation. First, as a designer, should strengthen the professional knowledge andthe improvement of their own culture, pay attention to detail design, timely communication with thecustomers explanation, strive to achieve the business and the perfect combination of art; To takeresponsibility for their work, don't feel free to copy other works. Poster design to comply with Chineseaudience's aesthetic, will poster design localization, nationalization. Second, as a customer, the filmcompany ought to notice poster design work, training professional poster design talents, strengthen theinternational exchange and professional learning, to foreign countries for reference, set the standards, letdesign personnel involved in the film's production of. Poster design is that the entire movie marketingsystem is the important one link in, for making a rigorous process of posters of standard, keep improving.In the movie, the former, stylist shall join the team film creation, communication, actor and directordialogue, specialized production. Stylist is in understanding, enough information and material, then afterrepeatedly meditate, research, creation gives can represent movie posters of the soul. The whole process,need to have a set of complete mode, process and standard operation. In the process of poster design, thefilm company shall respect the designer's opinion and the suggestion, timely communication, to believe thatits professional, more white space to the designer to design.
In the background of globalization of the concept of the obvious difference, looking for the world ofgeneral expression language is Chinese film movie the survival of the basic requirements, the movie posterdesign should also pay attention to the strategic research. Transformation idea, the group of the filmindustry, such as the combination of film and television, and pay attention to the film products production,increasing investment domestic large claims and low cost of national film creation and so on, are based onthe globalization thinking transformation, and on the basis of face globalization, strengthen communicationand good at correspondence, China is the only movie must go on. Chinese film of unremitting creation,globalization consciousness in the minority, self-reliance self-sufficient characteristics as the foundation,the integration of innovation in the21st century in China film will leap in art to a new stage. In thebackground of globalization, the Chinese film poster design should have artistic quality, diversified, culturefusion and the trend of internationalization development.
According to data from the collection, for film poster design research mostly in the history of filmposters, style, expression or a visual element, the research content includes: posters of visual elements ofthe text, graphics, the use of colors; The three elements of combining ways and visual effect, etc. Studyignored movie posters in the different historical period of the social background show the culturalconnotation and aesthetic to the body, lack of the current film poster design and analysis of the advantagesand disadvantages of the present situation, and the future development direction of the research, and thiskind of research is more realistic. Therefore, in view of present movie poster design of the present situationand the existing problems and the insufficiency, trying to explore the causes of phenomena caused by these,depth analysis solution.
This paper on lots of and movie posters relevant literature, journals, academic papers, works andnetwork information, movie posters etc material, and on the basis of selecting representative movie postersfor analysis. Research scope in China since the liberation from the movie poster design, poster of theevolution of the function, in order to comprehensive and accurate. This article is to seek lead to movieposters functions reasons; Analysis of modern Chinese movie posters in the background, present situationand development trend. We hope that this paper written for our country to the movie poster design makesome contributions to the movie poster design positive and rapid development of all poor power.
不同的时代，人们对美的感受有不同的认识和理解，而且，审美在时代的变迁中，也会提出不同的新要求。时代的变迁就是时代文化的体现，在每个时代都具有其特征与特定的文化现象，在各个领域有着不同的表现方式，在政治、经济、文化上有着不同的反映，所以，人们的审美需求反映的是当时整体的时代特征。
整个20世纪的中国电影，经历了从无声到有声，从黑白到彩色，从模拟到数字，从传统到现代技术的变革进程。在这几个不同的发展阶段中，中国电影伴随着国家的现代化进程，以特有的影像表现方式，记录了中国社会的变迁，成为人们喜爱的大众娱乐形式。电影海报作为电影的衍生品，在不同的历史时期内，扮演着重要的角色。除了电影海报本身所具有的传递信息、艺术审美和历史文化的功能，电影海报作为一种大众文化，在各个阶段都带着不同的功能特征出现在历史的舞台上。
新世纪的中国电影进入到前所未有的发展时期，电影的商业化趋势，成为电影产业发展的主流，同时也带动了电影产业的发展。电影海报是商业化运作中的重要角色，越来越受到电影公司的关注。而作为一种艺术样式，电影海报既要受制于美的规律；同时，它作为一种有效的大众传播媒体，又被制定担负国家意识形态使命，三重身份的交织,新世纪的中国电影呈现出一种多元化走向,各种电影形态在共存状态中,选择着各自的电影运作策略和电影消费市场,为自己的生存定位。
审视当代中国电影，面对加入WTO，国内电影界迫切期待改变目前电影票房低迷和急于应对世界环境的心态，不是胸有成竹的应对压力，而是急于寻求改变。以至于目前国内电影市场上出现，海报设计雷同、抄袭、及明星“大头照”现象；电影海报设计过度追求商业价值缺乏艺术审美性、海报设计模式化、世俗化等现象十分严重。
面对这些问题，应当从源头解决，重视对电影海报设计，将这个行业规范化操作。首先，作为设计师，应当加强专业知识学习与自身文化修养的提高，关注细节设计，及时与客户沟通解释，力求达到商业与艺术的完美结合；要对自己的工作负责，不能随意照搬照抄其他作品。海报设计要符合中国观众的审美，将海报设计本土化、民族化。其次，作为客户，电影公司应当注重海报设计工作，培养专业的海报设计人才，加强国际间的交流和专业学习，向国外借鉴，制定标准，让设计人员参与到电影的制作当中去。海报设计是整个电影营销系统中重要的一环，对于制作海报的流程有严谨的规范，精益求精。在电影拍摄前，设计师就应当加入电影创作团队当中，与导演沟通、演员进行对话，进行专门的拍摄工作。设计师在了解、掌握了足够的信息和资料之后，再经过反复揣摩、研究，创作出能代表电影灵魂的宣传海报。整个过程，需要有一套完整的模式、流程、标准操作。在进行海报设计的过程中，电影公司应当尊重设计师的意见和建议，及时沟通，相信其专业性，多给设计师留出空间去设计。
全球化的背景中明显存在观念的差异，寻找世人通用的电影表现语言是中国电影生存的基本要求，电影海报设计也应当注重策略研究。转化观念，电影业的集团化，比如影视的联合，重视电影产品的生产，加大资金投入国产大片的主张，低成本民族电影创作等等，都是基于全球化思维转变的基础上，勇敢面对全球化，加强沟通并善于对应，是中国电影必须走下去的必由之路。中国电影的不懈创造，全球化意识以民族自足、自立的特色为根基，融合创新21世纪中国电影必定会跃上艺术新台阶。在全球化的大背景中，中国的电影海报设计应具艺术性、多元化、文化性融合与国际化的趋势发展。
根据收集的资料来看，对于电影海报设计的研究大多集中在对电影海报的历史、风格、表现手法或者某种视觉元素上，研究内容包含有：海报视觉元素中的文字、图形、色彩的运用；这三种元素视觉的结合方式与效果等。研究中忽视了电影海报在不同历史时期的社会背景下表现出的文化内涵和审美体味，缺乏对当下电影海报设计现状以及优缺点分析，以及未来发展方向的研究，而此类研究则更具有现实意义。因此，本文针对目前电影海报设计现状及存在的问题和不足，极力探寻造成这些现象的原因，深度剖析解决之道。
本文在收集大量与电影海报相关的文献、期刊、论文、著作、网络资料、电影海报等资料的基础上，选取具有代表性的电影海报进行分析。研究范围是从我国解放以来至今电影海报设计、海报功能的演变，以求全面、准确。本文意在探求导致电影海报功能演变的原因；分析当代中国电影海报所处背景、现状和发展趋势。希望本文的撰写能够为我国电影海报设计做出一些贡献，为促进电影海报的设计积极、快速发展尽微薄之力。
The movie is the twentieth century the greatest and most influential one of the invention, from birth,so far, has a history of over one hundred years, it was in the human society activities plays very importantrole. The movie propaganda way has a lot of kinds, movie posters as the first to one of the most directpublicity media, characterized by The Times, bearing the change and development of the movie. It is thecomprehensive reflection of the era of economic, political, and cultural; Also reflect a painting, era ofdesign miniature, has the irreplaceable important position. Someone says: movie posters of the movie is apiece of calling card, one of the advertising, is the movie contents and topic highly concentrated product. Agood movie posters can improve the artistic grade of film, become a movie content showed a culturalsymbolic representative, can even as a concept as a vehicle for communication, and can be differentregional and cultural background convergence thoughts through the graphical way to communicate directlybetween the heart.
The different times, people, the experience of beauty have different understanding and theunderstanding, and aesthetic in the changes of The Times, also can put a different new requirements. Thechanges of The Times is the embodiment of the era culture, in every age has its characteristics and thespecific cultural phenomenon, in all area has different ways, in political, economic, and cultural has adifferent reaction, and so, people's aesthetic demand reflects the overall features of The Times at that time.
The whole of the20th century Chinese movies, has experienced from the silent to audio, from blackand white to color, from analog to digital, from tradition to modern technology revolution process. In theseveral different phase of development, China's movie with national modernization process, with a uniqueimage expression, and records the China, the change of society become a favorite form of massentertainment. Movie posters as a movie's derivatives, in the different historical period, playing animportant role. In addition to movie posters itself is delivering information, art aesthetic and historicalcultural function, movie posters, as a kind of popular culture, at each stage of the function with differentcharacteristics in history stage.
The new century Chinese movies into the unprecedented development period, the film's commercialtrend, become the mainstream of the film industry development, at the same time also contributed to the film industry. Movie posters is the important role commercialized operation, more and more get theattention of film company. And as a style of art, film posters both subject to beauty rule; At the same time,as a kind of effective mass media, and be responsible for formulated national ideology mission, tripleidentity intertexture, new century of China film presented a kind of diversity to, all kinds of movies formcoexist in the state, the choice of their movie operation strategy and movie consumer market, for his ownsurvival positioning.
Examines contemporary Chinese film, face the accession to the WTO, China urgently looking forwardto change the current film industry movie box office downturn and eager to deal with the worldenvironment state of mind, not have answers to cope with the pressure, but seek to make a change. That atpresent domestic film appeared on the market, poster design identical, plagiarism, and star\"big head as\"phenomenon; Movie poster design excessive pursuing business value lack of artistic aesthetic, posterdesign stereotyped, the phenomenon such as secularization is very serious.
Facing these problems, from the source should be solved, attach importance to the movie poster design,will the industry standard operation. First, as a designer, should strengthen the professional knowledge andthe improvement of their own culture, pay attention to detail design, timely communication with thecustomers explanation, strive to achieve the business and the perfect combination of art; To takeresponsibility for their work, don't feel free to copy other works. Poster design to comply with Chineseaudience's aesthetic, will poster design localization, nationalization. Second, as a customer, the filmcompany ought to notice poster design work, training professional poster design talents, strengthen theinternational exchange and professional learning, to foreign countries for reference, set the standards, letdesign personnel involved in the film's production of. Poster design is that the entire movie marketingsystem is the important one link in, for making a rigorous process of posters of standard, keep improving.In the movie, the former, stylist shall join the team film creation, communication, actor and directordialogue, specialized production. Stylist is in understanding, enough information and material, then afterrepeatedly meditate, research, creation gives can represent movie posters of the soul. The whole process,need to have a set of complete mode, process and standard operation. In the process of poster design, thefilm company shall respect the designer's opinion and the suggestion, timely communication, to believe thatits professional, more white space to the designer to design.
In the background of globalization of the concept of the obvious difference, looking for the world ofgeneral expression language is Chinese film movie the survival of the basic requirements, the movie posterdesign should also pay attention to the strategic research. Transformation idea, the group of the filmindustry, such as the combination of film and television, and pay attention to the film products production,increasing investment domestic large claims and low cost of national film creation and so on, are based onthe globalization thinking transformation, and on the basis of face globalization, strengthen communicationand good at correspondence, China is the only movie must go on. Chinese film of unremitting creation,globalization consciousness in the minority, self-reliance self-sufficient characteristics as the foundation,the integration of innovation in the21st century in China film will leap in art to a new stage. In thebackground of globalization, the Chinese film poster design should have artistic quality, diversified, culturefusion and the trend of internationalization development.
According to data from the collection, for film poster design research mostly in the history of filmposters, style, expression or a visual element, the research content includes: posters of visual elements ofthe text, graphics, the use of colors; The three elements of combining ways and visual effect, etc. Studyignored movie posters in the different historical period of the social background show the culturalconnotation and aesthetic to the body, lack of the current film poster design and analysis of the advantagesand disadvantages of the present situation, and the future development direction of the research, and thiskind of research is more realistic. Therefore, in view of present movie poster design of the present situationand the existing problems and the insufficiency, trying to explore the causes of phenomena caused by these,depth analysis solution.
This paper on lots of and movie posters relevant literature, journals, academic papers, works andnetwork information, movie posters etc material, and on the basis of selecting representative movie postersfor analysis. Research scope in China since the liberation from the movie poster design, poster of theevolution of the function, in order to comprehensive and accurate. This article is to seek lead to movieposters functions reasons; Analysis of modern Chinese movie posters in the background, present situationand development trend. We hope that this paper written for our country to the movie poster design makesome contributions to the movie poster design positive and rapid development of all poor power.
引文
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[3]鲁道夫·阿恩海姆著，腾宋饶、朱疆源译.艺术与视知觉[M].中国青年出版社，2002年.
[4]王受之.世界平面设计史[M].中国青年出版社，2002年.
[5]运园梅.提高电影海报艺术品位之我见.[J].戏剧文学，2004年.
[6]黄会林.中国电影艺术发展史教程[M].北京师范大学出版社，2005年6月版第168页.
[7]周星.20世纪90年代嘈杂多样的电影现实表现--百年中国电影现实表现概述之四[J].湖南大众传媒职业技术学院学报，2006年.
[8]姚雪凌.电影海报设计的时代性[J].电影评介，2007年19期.
[9]徐敏.“样板戏电影”：电影工业、文本政治与献身者的国家仪式[J].2007年.
[10]柳林,李珩.海报中的汉字艺术设计之美[J].艺术与设计,2007年.
[11]叶幼天,漆晚霞.在传统中探寻当代海报的本土设计[J].艺术与设计,2007年.
[12]王杨.九十年代后中国电影海报设计的风格特征[J].常州工学院学报（社会科学版），2007年.
[13]赵晴雪.电影海报设计的审美追求[J].电影评介，2007年.
[14]宋炳旭.浅谈现代电影海报的构成要素.[J].科技信息，2008年.
[15]栾丽，康立超.中国电影海报设计中符号的民族性和时代性[J].牡丹江大学学报,2008年.
[16]赵俊华,赵紫薇.百花齐放姹紫嫣红——《中国电影老海报》精品赏析[J].2010年.
[17]赛河沿编著.中国电影观念史[M].云南大学出版社，2010年1月.
[18]好运.观赏怀旧收藏投资——谈电影海报的收藏魅力.[J].文化遗产,2001年
[19]刘丽丽.浅析未来中国电影海报的“再设计”[J].科学之友，2011年6月
[20]闫同林.电影海报设计的图形语言研究[J].电影文学，2010年第3期
[21]汪开庆,何培华.平面设计三要素在电影海报中的运用[J].包装世界，2009年11月
[22]张玲珠,张谦.浅析电影海报设计中的视觉要素[J].电影文学，2011年第11期
[23]窦文.电影海报的审美分析[J].艺海，2010年第5期
[24]李刚.浅析汉字设计对电影海报设计的影响[J].艺术与设计，2008年
[25]周娴.中国电影海报一百年（1905—2005）[D].中央美术学院硕士学位论文，2008年
[26]贾利妮.“毛泽东时代”电影海报研究[D].首都师范大学硕士学位论文，2008年
[27]魏颖.探析80年代以来中国电影海报的发展[D].西北师范大学硕士学位论文，2010年
[28]李虹.基于不同文化背景下的电影海报风格研究[D].燕山大学硕士学位论文，2009年
[29]扬名.“Premiere”电影海报评选引发的思考[D].武汉理工大学硕士学位论文，2010年