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    政大機構典藏 > 傳播學院 > 廣告學系 > 會議論文 >  Item 140.119/40160
    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/40160

    Title: 被框架的女性意象:上海月份牌廣告畫的圖像符號分析
    Other Titles: The Framed Female Image: A Pictorial Semiotic Analysis of Classic Shanghai Calendar Posters of the 1910`s-1930`s
    Authors: 孫秀蕙;陳儀芬
    Sun, Hsiu-hui;Chen, I-fen
    Contributors: 國立政治大學廣告學系
    Keywords: 女性意象;上海;月份牌廣告畫
    月份牌廣告;女性意象;框架;圖像符號學;Classic Shanghai Calendar Posters;female image;frame;Pictorial Semiotics
    Date: 2007-10
    Issue Date: 2010-05-31 13:41:39 (UTC+8)
    Abstract: 本研究針對上海月份牌廣告畫(一九一○~一九三○年)中的女性意象進行圖像符號分析。研究者首先參考並修正了Barthes與Sonesson關於圖像符號研究的論述,提出平面廣告的符號分析原則與辨識圖像符號文本特性的四大要點:符碼的形式、傳播目的、傳播媒介與文本圖構。再者,就月份牌廣告畫的圖像文本特性做分析,發現其特殊的「文本圖構」,亦即其文本產生意義的符號構置方式:圖像(意義)被文字框架(限制);以及此類廣告畫中的核心視覺符號:「被框架的女性意象」。最後,本研究深入探討「框架」與「女性意象」的符號深層意義指涉。研究分析發現,因為資本主義所伴隨而來的經濟發展與西方現代文化,月份牌廣告畫中的女性角色,從早期的高級妓女到電影演員,經歷了很大的轉變。然而「她」並不是依照Goffman、Buker或Page所述,只是一個滿足男性凝視的慾望客體,而是如Winship、Enstad與Gorman所主張,觀察女性如何利用通俗文本建立政治主體性,正可鼓勵女性追求自我,建立角色認同。事實上,月份牌廣告畫中的女性意象指涉不斷溢出了封建傳統的「框架」之外,展現了當時消費者對於美好未來的憧憬,而這個「美好未來」是透過健康、有良好教養、獨立自主的女性來實踐的。
    The present study conducts a pictorial semiotic analysis of the female image in Classic Shanghai Calendar Posters of the 1910’s-1930’s. First of all, we reflect on Roland Barthes’ and Göran Sonesson’s theoretical perspectives towards Pictorial Semiotics and propose four essentials to distinguish the features of pictorial texts, especially those of print advertisements. These four essentials are types of code, goals, media and texture. Furthermore, we find the Calendar Posters’ “texture,” the configuration of both linguistic texts and pictures that produces meanings, follows a pattern where pictorial meanings are restrained by linguistic texts, and the core visual sign of this genre is “the framed female image.” At last, the present study explores different layers of the significances of the two major signs—“frame” and “female image.” According to the analysis, from courtesans to movie actresses, there had been dramatic changes of female characters in the Posters due to the invading capitalism accompanied by economic growth and western modern culture. The female image in these Calendar Posters represents no longer an object of desire for male gaze as those in common commercial posters depicted by Goffman, Buker or Page. Instead, the female image in popular texts helps to build political subjectivities of women, therefore encouraging them to pursue a better life and construct their identities according to Winship、Enstad and Gorman. In fact, the significances of the female image go far beyond the frame of feudalization and tradition, signifying the customers’ expectation of a better future. And this “better future” will be achieved by a healthy, well-educated and independent fine woman.
    Relation: 廣告學研究 , 34 , 25-63
    Data Type: conference
    Appears in Collections:[廣告學系] 會議論文

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