Hierarchy Analysis Of Hirokazu Koreeda's Films From The Perspective Of Encoding And Decoding Theory

In 2018,Hirokazu Koreeda 's film Shoplifters won the Palme d'Or in the 71 st Cannes Film Festival,which was a event in his creative career and Japanese film history.Since 1995,after he created his first feature film called “Maboroshi no Hikari”,Hirokazu Koreeda has maintained a high-frequency creative rhythm.So far,13 feature films have been created.It is the history of Hirokazu Koreeda 's film creation which is also his campaign history of attending international film festival.Such as film Nobody knows,Still Walking,Like Father Like Son,Our Little Sister have attended in the international film festival.Hirokazu Koreeda's films and his international reputation is a window of Japanese culture export.It is impressive to have considerable research on the encoding and cultural logic of Hirokazu Koreeda 's films.From the perspective of Encoding and Decoding theory,this paper applies the concepts of social cultural map and dominant coding structure to film analysis,referring to Stuart Hall'essay Encoding and decoding.This paper is divided into three parts.The first chapter introduces the research background and significance,the theory of encoding and decoding,the research methods and innovations,and innovations,and the overview of Hirokazu Koreeda's films.In the second chapter,the cultural identity of Hirokazu Koreeda is analyzed,and the influence of the coder's social culture and knowledge structure on the encoding process is clarified.Chapter 3 uses semiotic method to analyze the encoding of Hirokazu Koreeda's films and summarizes the characteristics of Hirokazu Koreeda's films in audio-visual layer,story layer and cultural layer.As for the system of film coding,Hirokazu Koreeda build a coding assistant signifier chain to assist encoding.