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摘要：本研究以《冰雪奇緣》海报为例，运用描述性研究方法和案例研究，旨在以视觉语法来对电影海报中的意义构建进行分析。
关键词：《冰雪奇缘》、海报、视觉语法
Frozen is adapted from the Snow Queen of Andersen Fairy Tale. Elsa， who is able to control the forces of nature， nearly kills her sister Anna by her magic because of an accident. From then on， Elsa tries to suppress increasing growth of her magic. However， at her Coronation Ceremony， her magic goes out of control， causing the whole kingdom covered by snow. Else in fear flees into the snow mountain. Anna begins a journey of adventure in order to save her sister， to get rid of the magic and to rescue the kingdom. On the way to ice mountain， she meets Kristoff. With his help， she arrives at the snow mountain. But unfortunately， hit by Elsa’s magic， she is on the verge of death. Finally， Elsa’s tears and true love melt frozen Anna and relieve the magic.
There are some scholars studying movie posters， such as， Lv Feng， Li Yueming （2019）. In the movie poster of Frozen， the image of Elsa accounts for a large proportion. Her left arm forms a vector， whose aim is to make snowflakes through her magic. Her flying skirt produces a sharp diagonal， which also constitutes a vector， but its goal is not people or animals. Accordingly， the former is transitive while the latter is non-transitive. There are four represented participants in the bottom of the poster， Elsa’s younger sister Anna， civilian boy Kristoff， snowman Olaf and reindeer Sven， who are linked together by vector and interact with each other. Elsa and Olaf’s eyes straightly stare at the viewers， and Anna， Kristoff and Sven’s eyes are full of hope， looking ahead. These vectors consist of only one element-eyesight， as a result， treated as the reaction process. The usage of so many vectors make the image full of dynamism and vitality， especially the vector that Olaf’s four legs make up， highlighting the combination of speed and power and conveying their anxious mind to look for hope. Each person in the poster is a carrier， with different features， above all in terms of dress. The size of the snowflake at her left hand is exaggerated and conspicuous which belongs to the symbolic suggestive process. It symbolizes the magic controlling the forces of nature.
For the poster of frozen， there is the presence of imaginary relation between Elsa， Olaf and audience， because Elsa and Olaf make an eye contact with audience. Anna， Kristoff and Sven just look ahead， neglecting viewers. Simply speaking， the appearance of the three figures is designed to offer information related to the film for viewers. In conclusion， the poster assumes not only the demand act， but also the offer act. Elsa’s whole body almost takes up the overall frame， which belongs to a medium shot. There exists a general social relation between the represented participants and viewers. Anna， Kristoff， Olaf as well as Sven occupy less space of the frame， so the relation that the represented participants and the viewers is an alienated social one. Looked as the whole， the poster is presented from frontal angle， which makes a sense of involvement for the viewers. But the description of the other four represented participants in the lower right corner is made from the oblique angle. It gives the audience an expression of detachment. This design in a wider scene stimulates the audience’s great interest in the film. In view of vertical angle， the low angle is selected. The viewers need to look up to Elsa， thus her extinguished queen status and her power that the others can’t attain can be reflected in this way. The poster mainly uses blue color， which is not very saturated， which belongs to the middle modality. In the poster of frozen， in the front， some words are placed， namely “FROM THE CREATORS OF ‘TANGLED’ AND ‘WRECK-IT RALPH’”， which are ideal， in exact accordance with the expectation of the viewers， and inspire their desire of going to cinema. In the bottom， the text is “3D” and this information is true. In the center， there are these contexts， “Disney”， “FROZEN” and “IN CINEMAS SOON”， ARE THE CORE ELEMENT. The color of her dress is similar to that of ice and snow. On account of this， audience can also associate that she is the artificer of ice and snow， and the owner of magic. Anna is wearing a bright red clock， which suggests that she shoulders the duty of dispelling magic. On the wording， there is a text “FROM THE CREATORS of ‘TANGLED’ AND ‘WRECK-IT RALPH’”. This information can play an important role in attracting the audience. The upper part is the snow mountain， the palace built up by Elsa and the starry sky. The lower part constructs a picture that in the setting of a snowstorm， Anna and Kristoff still insist on looking for hope. The former is static， while the latter is dynamic.
The thesis not only deepens the understanding of the theory of multimodal discourse analysis， but also accounts for the applicability of the theory in analyzing the poster for frozen.
參考文献：
[1] 吕锋， 李明月. 多模态话语下《摆渡人》电影海报的视觉阐释[J]. 电影评析， 2019： 120-123.
关键词：《冰雪奇缘》、海报、视觉语法
Frozen is adapted from the Snow Queen of Andersen Fairy Tale. Elsa， who is able to control the forces of nature， nearly kills her sister Anna by her magic because of an accident. From then on， Elsa tries to suppress increasing growth of her magic. However， at her Coronation Ceremony， her magic goes out of control， causing the whole kingdom covered by snow. Else in fear flees into the snow mountain. Anna begins a journey of adventure in order to save her sister， to get rid of the magic and to rescue the kingdom. On the way to ice mountain， she meets Kristoff. With his help， she arrives at the snow mountain. But unfortunately， hit by Elsa’s magic， she is on the verge of death. Finally， Elsa’s tears and true love melt frozen Anna and relieve the magic.
There are some scholars studying movie posters， such as， Lv Feng， Li Yueming （2019）. In the movie poster of Frozen， the image of Elsa accounts for a large proportion. Her left arm forms a vector， whose aim is to make snowflakes through her magic. Her flying skirt produces a sharp diagonal， which also constitutes a vector， but its goal is not people or animals. Accordingly， the former is transitive while the latter is non-transitive. There are four represented participants in the bottom of the poster， Elsa’s younger sister Anna， civilian boy Kristoff， snowman Olaf and reindeer Sven， who are linked together by vector and interact with each other. Elsa and Olaf’s eyes straightly stare at the viewers， and Anna， Kristoff and Sven’s eyes are full of hope， looking ahead. These vectors consist of only one element-eyesight， as a result， treated as the reaction process. The usage of so many vectors make the image full of dynamism and vitality， especially the vector that Olaf’s four legs make up， highlighting the combination of speed and power and conveying their anxious mind to look for hope. Each person in the poster is a carrier， with different features， above all in terms of dress. The size of the snowflake at her left hand is exaggerated and conspicuous which belongs to the symbolic suggestive process. It symbolizes the magic controlling the forces of nature.
For the poster of frozen， there is the presence of imaginary relation between Elsa， Olaf and audience， because Elsa and Olaf make an eye contact with audience. Anna， Kristoff and Sven just look ahead， neglecting viewers. Simply speaking， the appearance of the three figures is designed to offer information related to the film for viewers. In conclusion， the poster assumes not only the demand act， but also the offer act. Elsa’s whole body almost takes up the overall frame， which belongs to a medium shot. There exists a general social relation between the represented participants and viewers. Anna， Kristoff， Olaf as well as Sven occupy less space of the frame， so the relation that the represented participants and the viewers is an alienated social one. Looked as the whole， the poster is presented from frontal angle， which makes a sense of involvement for the viewers. But the description of the other four represented participants in the lower right corner is made from the oblique angle. It gives the audience an expression of detachment. This design in a wider scene stimulates the audience’s great interest in the film. In view of vertical angle， the low angle is selected. The viewers need to look up to Elsa， thus her extinguished queen status and her power that the others can’t attain can be reflected in this way. The poster mainly uses blue color， which is not very saturated， which belongs to the middle modality. In the poster of frozen， in the front， some words are placed， namely “FROM THE CREATORS OF ‘TANGLED’ AND ‘WRECK-IT RALPH’”， which are ideal， in exact accordance with the expectation of the viewers， and inspire their desire of going to cinema. In the bottom， the text is “3D” and this information is true. In the center， there are these contexts， “Disney”， “FROZEN” and “IN CINEMAS SOON”， ARE THE CORE ELEMENT. The color of her dress is similar to that of ice and snow. On account of this， audience can also associate that she is the artificer of ice and snow， and the owner of magic. Anna is wearing a bright red clock， which suggests that she shoulders the duty of dispelling magic. On the wording， there is a text “FROM THE CREATORS of ‘TANGLED’ AND ‘WRECK-IT RALPH’”. This information can play an important role in attracting the audience. The upper part is the snow mountain， the palace built up by Elsa and the starry sky. The lower part constructs a picture that in the setting of a snowstorm， Anna and Kristoff still insist on looking for hope. The former is static， while the latter is dynamic.
The thesis not only deepens the understanding of the theory of multimodal discourse analysis， but also accounts for the applicability of the theory in analyzing the poster for frozen.
參考文献：
[1] 吕锋， 李明月. 多模态话语下《摆渡人》电影海报的视觉阐释[J]. 电影评析， 2019： 120-123.