Research On Visual Rhetoric Of Domestic Award-winning Animated Films

In 2015,the animated film Monkey King: Hero Is Back was released in China,bringing incredible box office performance and attracting strong comments from the audience.It became a phenomenon at that time,and domestic animation has since stepped into a new stage of development.With the support and encouragement of national policies,more and more excellent domestic animation films have appeared,presenting an unparalleled audio-visual feast for the audience.This paper,based on this research background,from the visual rhetoric theory and research perspective,chooses four cartoon movies who won the China Animation & Comic Competition Golden Dragon Award(CACC)for best animated film prize award from 2015 to 2019,namely Monkey King: Hero Is Back,Big Fish & Begonia,The Wind Guardians,Ne Zha.The paper is going to study in visual rhetoric texts,visual rhetoric methods and visual rhetoric targets.The first chapter is mainly about the introduction of the research.The relevant research literature is sorted out and further research questions are put forward to refine the research framework of rhetoric texts,rhetoric methods and rhetoric targets.In the second chapter,through the overview of Chinese Golden Dragon Award,the research samples of this paper are selected.In the third chapter,through the analysis of audiovisual language such as picture,sound and montage of animated films,the paper finds out the characteristics of the basic elements that constitute the visual rhetoric text of films.The fourth chapter analyzes visual rhetoric devices and visual figures of speech from the perspectives of single "mirror language" and multiple "mirror language",and explores the use of visual rhetoric methods in animated films.The fifth chapter starts with the ideology of the film and analyzes the implied creative intention and value orientation of domestic animation films.The sixth chapter summarizes the previous findings,and puts forward the research shortcomings and prospects.This study finds that,from the visual rhetoric texts,the four samples of winning domestic animation films lay particular stress on Chinese red in color,the dream and the development of the plot are portrayed in the form of many kinds of composition and the way of multiple film lens.The images of the philosophy of life and the environment are showed through the lines of the acoustics bluntly and comprehensive realistic use,giving people the immersive sense,and the using of the parallel montage is made full preparation for the story.The four animated films are in a Chinese style,highlighting the use of traditional Chinese cultural elements.From the visual rhetoric methods,in a single "mirror language",the animated film is not made by live action,but also good at using a full-length shot,fully mobilizing the audience who are attracted involuntarily by the lens for the curious psychology of the film.Moreover,the close-up rhetoric in the movie makes the animation movie more delicate through the peep of details.In the multiple "mirror language",the animated films emphasize Chinese elements,and a variety of figurative terms are placed in the image made of contrast,which reflects the Chinese traditional culture incisively and vividly.From the visual rhetoric targets,the creation of animation film must be the product of social and cultural context,reflecting the history and the present context.The era of globalization and cultural diversity has strict requirements on original animation films,thus the necessary condition to keep films being original is rooted actively in the country and the nation’s traditional culture so that creative films with national characteristics can be produced.Current animated films construct “anti” culture in the present context through exploiting the symbol of the national elements and maintaining their originality in “metaphor” rhetoric.It is a kind of critical remodeling of the present social environment,reflecting the ideology of multi-cultural value identity.The identification by sympathy,identification by antithesis,and identification by inaccuracy between film and audience have been realized through the characterization and rhetoric.It can be said that the film’s visual rhetoric is not only a form of language expression,but it is a discourse construction problem under the background of a certain ideology.Choosing what kind of rhetoric methods or speech figures to depict image,emotion,beauty and ugliness,is closely bound up with an ideology position,identity,or the desire for some kind of ideal society.