碩士 / 國立中央大學 / 藝術學研究所 / 91 / 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.
| Identifer | oai:union.ndltd.org:TW/091NCU00546005 |
| Date | January 2003 |
| Creators | Ya-Wen Chen, 陳雅雯 |
| Contributors | 吳方正 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 92 |
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