A Study On Visual Rhetoric Of Designer Huang Hai’s Movie Poster Works

Film posters are a key component of film promotion and promotion strategies.Whether their design is clever enough and whether their creativity is novel and unique greatly affects the expected reputation of the film and the audience’s willingness to see it.They can be described as the "business card" of a film.In addition,movie posters are also an important form of realizing popular culture in the era of visual communication,which not only witness the aesthetic changes of society,but also condense profound memories of the times.Therefore,whether from the perspective of its important role in the film itself or from the perspective of cultural research,movie posters are worthy of attention,discussion,and interpretation.In recent years,the designer Huang Hai’s movie poster works,with their unique design,unique style,and profound cultural heritage,have repeatedly brought wonderful visual experiences to people,and have caused heated discussions on online platforms,sometimes even surpassing the film itself.Huang Hai himself has also been invited by major film festivals and well-known directors at home and abroad to undertake the task of poster design.For the design of movie posters in China,the strategic design and creative ideas contained in the works of the Yellow Sea have certain reference value and enlightenment significance;From the perspective of academic research,Huang Hai’s works,as a representative research object,undoubtedly constitute a suitable entry point for the study of movie posters.Based on the investigation of the visual characteristics of film posters as a media text,this study selects the theoretical perspective of visual rhetoric,and comprehensively uses the methods of text analysis,content analysis,and case analysis to conduct a rational analysis and exploration of film poster works in the Yellow Sea.In terms of research framework,based on extensive reference to the excellent research results of visual rhetoric at home and abroad,this article establishes a research framework consisting of three levels: visual grammar analysis,visual image analysis,and visual rhetoric analysis.In the visual grammar analysis section,this article analyzes the reproduction structure,scenery,and language and image relationships of his works,revealing the relationship between the visual elements within the Yellow Sea works,and their combination as the formal rules of the overall poster,laying a foundation for future research;In the part of visual image analysis,this article studies three different forms of visual images in Huanghai works,namely prototype images,conceptual images,and symbol images,and explores the essential characteristics and rhetorical principles of each image;In the analysis of visual rhetoric,this article studies the three main rhetorical devices used in Huang Hai’s works,namely,metaphorical rhetoric,metonymic rhetoric,and antagonistic rhetoric,and analyzes the deep rhetorical structure and meaning production issues in his works.Finally,based on the previous analysis,the author attempts to summarize the rhetorical strategies presented in Huang Hai’s works as a whole from the perspective of visual rhetoric,mainly including rich and diverse levels of meaning,flexible visual styles,profound cultural connotations,and a precise grasp and clever presentation of the movie theme.This can provide some inspiration for the design of movie posters in China.In addition,compared to traditional rhetoric,visual rhetoric still belongs to a newly emerging research field,and there is still greater room for growth in theoretical system and practical application.Therefore,in this sense,this article also makes a beneficial attempt and exploration for the research and practice of visual rhetoric in the current cultural context.