Graphical Interaction And Image Cross-border Travel

The emergence of “modern girl” is a global trend in the 1920 s and 1930 s,and is in line with the “modengjianv ” in classical China,Japanese “モダンガール”,Western literature and the “flapper” in American Hollywood movie.The “modern girl”,constantly shaped by fashion,film,literature,art and other art forms,is a cultural derivative of modern new professional women,and it represents the changes in the social and cultural landscape.The study of Chinese “modern girls” should show two dimensions: as a type of female image,they are the transitional form of the modern transformation of Chinese women;as a cultural phenomenon,they reflect the dialogue between the modern Chinese intellectuals and the world,“cross-border” practice integrating Chinese and Western.Since the late Qing Dynasty,the transformation of literary narrative mode,the vernacularization of literary language and the replacement of cultural forms have injected modern concepts into the two classical words – “modeng”and “nvlang”.At the same time,Western “modern girls” entered China along with films,paintings,advertisements,literature and other media,and it were shaped by literary texts,film images and paper images.Under the combined effects of local evolution and external transmission,the “modern girl” breeds image characteristics and cultural connotations that are unique to China in a global and universal sense.Chinese “modern girls” have the cultural attributes of a mixture of Chinese and Western cultures,and their personality characteristics are mainly manifested in a timely and enjoyable life attitude,a fickle and willful personality,and a free and bold style.They can have provocative conversation with stranger.In the 1930 s,the narrative environment of Japan’s invasion of China and the confrontation of multiple ideologies caused the “modern girl” to fall into the whirlpool of expressing class concepts and manifesting the national spirit,and appeared as a negative image that was criticized and criticized.However,the expropriation of the body of the “modern girl” is lurked above the grand narrative of national salvation.Thus,the discourse pedigree centered on “modern girls” unfolds along the dimensions of national identity and gender identity.This dissertation mainly starts from the cultural phenomenon of “modern girl”,studies the spread and acceptance of heterogeneous culture of China in the 1930 s,and the interaction between the cultural ecology and the author’s creative expression,mainly along the following lines of thought expand discussion:The first chapter discusses the generation mechanism of “modern girl” based on two viewpoints containing local and foreign.First of all,the emergence of the concept of “modern girl” is the result of the respective adjustments and closeness between the classical meaning of “modeng” and “nvlang” and the modern concepts of “modern” and“girl”: on the one hand,“modeng” and “nvlang” are infused with modern concepts such as consumption,fashion,freedom,romance,and individuality by the connection between Chinese and Western knowledge,making them a pioneer in expressing the culture of the times;on the other hand,in the 1920 s,new titles for women in English and Japanese language systems(flapper,modern girl,モダンガール)triggered the exploration of naming new types of women by modern Chinese intellectuals,and people finally “created” new concepts through translation and combination of Chinese and English.Secondly,the image of “modern girl” shows two clues in the cross-border travel from the West to the East: one is the literary image of “modern girl” showing the horizontal spread of “Europe and America-Japan-China”;the other is that the advertisements and products of European and American cosmetics companies and the international distribution of fashion magazines have brought the image of “modern girl”and a new type of female culture,stimulated the visual sense of local female magazines and female readers,and led the domestic “modern” trend.The second chapter explores the complex aspects of “modern girl” in the interaction of literary text and film images.The creative concept of “new sensationalism”and the concept of “Left-Wing” caused the “modern girl” configuration presenting two styles in the 1930 s.The “New Sensation School” colleagues learned female body aesthetics from Hollywood movies and images and a new form of structured stories based on gender division of labor,which strengthened the viewing value of “modern girl”.At the same time,the logic of “modern-revolution” dominates the aesthetic concepts of “Left-Wing” literary creation and film production,and realizes the effect of“modern girl” and “new woman” with the same structure.The narrative tension of modernity and revolution can be reconciled.However,in the literary creation of female movie stars,the writings of Wang Ying and Ai Xia reflect the pain of folding wings and“dark” survival of modern female stars under the spotlight of the screen,as well as the roles of “modern girls” and “new women”.The passive conversion and the complete tearing of contradictions in the same subject.The third chapter focuses on the graphic-text relationship between the “modern girl”image and the text description in the cover and illustrations of literary works,revealing how the image text participates in the image construction.The cover image of “modern girl” forms a mutually explanatory relationship with the text description on the inner page through changes in composition,color tone and style.It shows that “modern girl”is a modern writer who is sensitive to the era and looking at it by means of symbolism,metonymy and providing perspective,and it is also an important window to the city and imagine the foreign land.There are three situations in the graphic-text relationship in the illustrated narrative: the dialogue between the illustration and the text creates the image core of the fickle “modern girl”;the development and use of the “modern language” on the cigarettes and high-heeled shoes strengthens the erotic lure of the“girl”;in the narrative of the train “aventure”,the illustration fixes and divides the plot of the story,creating a gap between the two.The “modern girl” pursues the existence of subjectivity but cannot become the dilemma of the subject.The fourth chapter explores the cultural identity of “modern girl” constructed by literature,film and pictures.The cultural identity of “modern girl” has multiple cultural meanings and narrative functions in the specific expression,mainly along the two aspects of national identity and gender identity.From the perspective of national identity,it is related to intellectuals’ national ideals of economic salvation and national identity issues.The metaphysical “domestic product movement” has brought about the erratic identity of “modern girls”,who are not only unpatriots but also enlighteners of consumption of domestic products.In the domestic product movement,the “modern girl”only exists as a westernized symbol of consumption or capital.The act of dressing implies the consciousness of the national identity of the “modern girl”.In a foreign field of vision,the exchange of cheongsam and suits constructs the identity logic of“cheongsam-China”.Gender identity is revealed in the ethical relationship between love and blood.The “modern girl”’s homeless living style has brought materialized pursuit of love choices.The survival of “rejecting motherhood” must also be in exchange for the body.The ethical narrative surrounding the “modern girl” takes marriage and motherhood as the cut-in angle,hits the current issue of women’s survival,and points to the anti-urban cultural will.