پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 960 |
| تعداد مقالات | 7,922 |
| تعداد مشاهده مقاله | 13,384,844 |
| تعداد دریافت فایل اصل مقاله | 9,507,446 |
کاربردهای گرافیک در میان‌نویس‌های فیلم‌های وس اندرسون | ||
| پژوهش نامه گرافیک نقاشی | ||
| دوره 7، شماره 12، شهریور 1403، صفحه 100-116 اصل مقاله (1.39 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2024.46831.1258 | ||
| نویسندگان | ||
| فاطمه تاکیان1؛ سمیه رمضان ماهی* 2 | ||
| 1کارشناسی ارشد ارتباط تصویری، دانشکده هنر، دانشگاه سوره، تهران، ایران. | ||
| 2استادیار گروه ارتباط تصویری، دانشکده هنر، دانشگاه سوره، تهران، ایران، نویسنده مسئول. | ||
| چکیده | ||
| در دوران سینمای صامت میان‌نویس‌ها پل ارتباطی میان شخصیت‌های فیلم، روایت و تماشاگران بودند. با اضافه شدن صدا به صنعت سینما، کاربرد و جایگاه میان‌نویس‌ها دچار تحول شد. این پژوهش تلاش دارد تا انواع میان‌نویس‌ها و عناصر گرافیکی موجود در فیلم‌های وس اندرسون را بررسی و به گونه‌شناسی انواع کاربردهای گرافیک در سینما بپردازد. در همین راستا میان‌نویس فیلم‌های وس اندرسون بر مبنای پنج مؤلفه که شامل انواع میان‌نویس، حرکت، تکنیک وارد کردن، اهمیت میان‌نویس‌ها با توجه به روایت فیلم و رابطه با دیگر عناصر فیلم است، مورد بررسی قرار گرفته و سپس گرافیک به کار رفته درون آن‌ها براساس سه مؤلفه‌ی ارتباط عناصر گرافیکی با روایت فیلم، حضور عناصر گرافیکی به عنوان یونیفرم و نوع عنصر گرافیکی به کار رفته درون میان‌نویس مورد تحلیل قرار می‌گیرند. این پژوهش که از نوع کیفی و با روش توصیفی تحلیلی انجام پذیرفته به دنبال پاسخ به این پرسش است میان‌نویس‌ها و گرافیک به کار رفته درون آن‌ها چه نقشی در شکل گرفتن هویت بصری فیلم های وس اندرسون ایفا می‌کنند؟ یافته‌های تحقیق بیانگر آن است که استفاده از عناصر گرافیکی در قالب یونیفرم در طراحی میان‌نویس‌ها و تکرار آن‌ها می‌تواند باعث شکل گرفتن هویت بصری فیلم در ذهن تماشاگر شود. رنگ‌ها، فونت و عناصر گرافیکی استفاده شده در هویت بصری و میان‌نویس‌های فیلم در تعیین محدوده زمانی فیلم تأثیرگذار هستند. جهت طراحی اشیاء گرافیکی و میان‌نویس‌ها درون فیلم ابتدا نیاز به تحقیق و بررسی و دسترسی به فیلم‌نامه است. پس از بررسی فیلم‌های هتل بزرگ بوداپست و گزارش فرانسوی این‌گونه به نظر می‌رسد که سبک شخصی کارگردان در شکل دادن هویت بصری فیلم تأثیرگذار بوده است. | ||
| کلیدواژه‌ها | ||
| کلیدواژه ها: گرافیک کاربردی؛ گرافیک در سینما؛ میان‌نویس فیلم؛ وس اندرسون | ||
| عنوان مقاله [English] | ||
| The Applications of the Graphics in Wes Anderson's Film Subtitles | ||
| نویسندگان [English] | ||
| Fatemeh Takian1؛ Somayeh Ramezanmahi2 | ||
| 1MA of Visual Communication, Faculty of Arts, Soore University, Tehran, Iran. | ||
| 2Assistant Professor, Department of Visual Communication, Faculty of Art, Soore University, Tehran, Iran. Corresponding Author. | ||
| چکیده [English] | ||
| In the beginning, intertitles were handwritten on a completely black background. The contrast between the black background and white text quickly attracted the audience's attention to the text. Most of the intertitles from this era, regardless of the film genre, were written in a single font and typography style, solely intended to convey information to the audience without much emphasis on letter style, angles, etc. Around the 1920s, alongside the use of black backgrounds, the use of textures became common. Staring at white text with such high contrast against black backgrounds for extended periods strained the viewers' eyes. Changing intertitle backgrounds from black to dark gray somewhat alleviated this issue. The textures used in intertitles of this period resembled carpet or fabric textures, with white letters written on them. Around the same decade, both simple linear frames and frames with curved lines were used for intertitles. By the mid-1930s, most films had sound and dialogue, marking the end of the silent film era. The relationship between films and audiences and the language of film changed during this time. With the advent of sound in films, graphic design in intertitles did not entirely disappear from the cinema industry. In fact, a type of intertitle known as descriptive intertitles became obsolete, but descriptive intertitles found their place in the filmmaking industry and the visual language of films. Directors could still strategically use descriptive intertitles as a tool for better narrative communication, even without the sound element. Although intertitles underwent changes due to the introduction of sound in the film industry, opening and closing titles and filmography were not greatly affected, as they conveyed a message that did not depend on sound. The use of intertitles was no longer necessary, and this made their creative use more limited. This was a significant moment in determining the power and position of graphic design in cinema and filmmaking. This research aims to examine the types of subtitles and graphic elements present in Wes Anderson's films and to categorise the various uses of graphics in cinema. In this regard, the subtitles of Wes Anderson's films are analysed based on five components, including types of subtitles, movement, insertion techniques, the importance of subtitles in relation to film narration, and their relationship with other film elements. Then, the graphics used within them are analysed based on three components: the relationship of graphic elements with film narration, the presence of graphic elements as a uniform, and the type of graphic element used in subtitles. This qualitative research, conducted using a descriptive-analytical method, seeks to answer the question of what role subtitles and the graphics used within them play in shaping the visual identity of Wes Anderson's films. The findings of the study indicate that the use of graphic elements in the form of a uniform design of subtitles and their repetition can shape the visual identity of the film in the viewer's mind. Colours, fonts, and graphic elements used in the visual identity and subtitles of the film are influential in determining the film's time frame. Research and access to the film script are necessary for designing graphic objects and subtitles within the film. After examining films such as "The Grand Budapest Hotel" and "The French Dispatch," it appears that the director's personal style has been influential in shaping the visual identity of the films. Subtitles and graphic elements used in these films play a vital role in creating cinematic spaces, conveying hidden messages within the film. These elements contribute to establishing a distinctive visual identity for the films that remains memorable in the minds of audiences, utilising specific colour combinations, unique fonts, and creative graphic designs. In "The Grand Budapest Hotel," subtitles and graphic elements, characterised by saturated colours and precise designs based on the screenplay, help evoke a sense of nostalgia and recreate the atmosphere of the 1930s. In a film like "The Grand Budapest Hotel," which spans different decades and locations, the presence of time and place subtitles significantly influences how viewers interpret the film's narrative in a shorter timeframe. In "The French Dispatch," graphic elements and subtitles are used in a manner that reflects the cultural and artistic atmosphere of France in past decades. The film employs complex graphics and a variety of colours inspired by The New Yorker magazine, successfully creating a dynamic and engaging visual identity for its audience. The visual identity of the film is based on the cover and pages of a magazine designed by Erica Dorn, inspired by The New Yorker magazine. According to Dorn, there is no complete physical version of this magazine; only the cover and pages used as subtitles in the film are designed, and the rest of the magazine exists only in the imagination of the audience. The colours used in "The French Dispatch," like other Wes Anderson films, are bright, cheerful, and highly saturated. The colour palette of this film is composed of warm colours, depicting the city in shades of cream and brown. Wes Anderson maintains symmetry in most of his films, aiming to centre characters, texts, and graphic objects in the frame. Ultimately, this research concludes that intelligent use of graphic elements in subtitles can strengthen the visual identity of films and enhance their impact on audiences. These findings can serve as a practical guide for directors and graphic designers in the cinema industry to produce films with stronger and more appealing visual identities by employing similar techniques. A detailed analysis of subtitles and graphic elements in Wes Anderson's films demonstrates that these elements not only serve as decorative tools but also play crucial roles in creating and enhancing the visual identities of the films. Therefore, subtitles and graphic elements influence how viewers perceive and experience the film, contributing to a richer and more diverse cinematic experience. The choice of fonts and colours appropriate to the historical period of the film, and their repetition in subtitles, graphic objects, and opening and closing credits, significantly contribute to shaping the film's identity. The director's artistic style also plays a vital role in shaping the film's identity. The use of saturated colour palettes, vibrant colours contrasting with the film's themes and what the viewer sees, and the fonts used in Wes Anderson's films distinguish his works from others. For designing graphic elements and objects within a film, initial research and access to the screenplay are necessary. After researching the historical period and location range of the film, graphic elements and necessary objects are extracted from the screenplay and analysed for design purposes. Graphic objects can be produced manually or using softwares. Subtitles, due to their repetition throughout the film, remain memorable in the viewer's mind, and if they possess specific visual characteristics, they can greatly contribute to forming the film's visual identity. The applications of graphics in cinema are divided into three categories: opening and closing credits, subtitles, and graphic objects. The use of graphic design in film can be influential in the viewer's perception and interpretation of the film narrative, playing a significant role. The use of handwritten scripts and font design for a film, research, and designing the film's identity based on its narrative and historical period, and the use of colours suitable for the film's timeline and the director's artistic style can be powerful tools in shaping the film's visual identity. Visual characteristics used in subtitles of Wes Anderson's films are often presented in a uniform format. The use of uniformity in designing subtitles allows viewers to quickly understand the type of information presented in the subtitles within a shorter period of time. With repeated subtitles throughout the film, their uniformity and identity remain memorable in the viewer's memory. The use of graphic elements as a uniform in subtitles can be a powerful tool in shaping the film's visual identity in the viewer's mind. Keywords: Functional Graphics, Graphics in Cinema, Intertitle, Wes Anderson. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Functional Graphics, Graphics in Cinema, Intertitle, Wes Anderson | ||
| مراجع | ||
|
منابع
سعیدی پور، فرشته. (1397). گرافیک در عنوان‌بندی فیلم. چاپ سوم. تهران. سروش.
شیخایی، رامین. (1386). مرز بین سینما و گرافیک. حرفه هنرمند. شماره 19. 76-60.
صادقی، مهدی. (1387). گرافیک و سینما. چاپ اول. تهران. میردشتی.
فدائی، مجید؛ سلیمیان، ریحانه. (1401). بررسی نقش ویدیومپینگ ها در گرافیک محیطی قرن بیست و یکم با تکیه بر نظرات پل ویریلیو و لو مانوویچ. پژوهش نامه گرافیک نقاشی. شماره 9. 145-130.
References
Chisholm, B. (1987). Reading Intertitles. Journal of Popular Film and Television, 15 (3).
Fadaei, M; Salimian, R. (2022). Investigating the Role of Videomappings in 21st Century Environmental Graphics: Based on the Opinions of Paul Virilio and Lev Manovich. Journal of Graphic Arts and Painting Research, No. 9, pp. 130-145, (Text in Persian).
Gunning, T. (2006). The Cinema of Attraction: Early Cinema its Spectator and the Avant-Garde. In Strauven W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press.
Mars R. Hero props: graphic design film television. 2017. Available from: https://99percentinvisible.org/episode/hero-props-graphic-design-film-television/. Accessed March 1 2022.
Nowell-Smith, G. (1996). The Oxford History of World Cinema. New York: Oxford University Press.
Petit, Z. (2014). When Saul Bass Met Hitchcock. Printmag. Retrieved from https://www.printmag.com/imprint/saul-bass-hitchcock/ (Accessed: 7 June 2024).
Saidi Pour, F. (2018). Graphics in Film Titles (3rd ed). Tehran: Sooreh Publication, (Text in Persian).
Sadeghi, M. (2008). Graphics and Cinema (1st ed). Tehran: Mirdashti Publication, (Text in Persian).
Sheikhaei, R. (2007). The Border Between Cinema and Graphics. Honar-e Honarmand, 19, 60-76. (Text in Persian).
St. John Marner, T & Stringer M. (1974). Film Design. New York: A. S. Barnes and Co.
Tude, H (2020). Graphic design in film: building character identity and visual style in The Great Gatsby. Arts Culture Design, 1. Available from: https://doi.org/10.12681/dac.25968. Accessed March 1 2022.
Noornegar. (2021, September 11). The History of Cinema in Iran. Noornegar Magazine. Retrieved September 6, 2023, from https://noornegar.com/blog/cinema-history-in-iran/, (Text in Persian).
URLs
URL1: https://dribbble.com/tags/film-props (Accessed: 7 June 2024).
URL2: https://finnspencer.com/The-Great-Gatsby-Movie-Titles (Accessed: 7 June 2024).
URL3: https://www.retrozap.com/the-untouchables-1987-cinemanalysis/ (Accessed: 21 July 2023).
URL4: www.imdb.com (Accessed: 21 July 2023).
URL5: https://arquitecturaviva.com/articles/the-new-yorker-writers-and-editors-who-inspired-the-french-dispatch (Accessed: 7 June 2024). | ||
|
آمار تعداد مشاهده مقاله: 197 تعداد دریافت فایل اصل مقاله: 144 |
||