The Semiotical Construction And Audience Consumption Of Anime Under Semiology Perspective

Since the importation of TV Anime Astroboy(1963),Anime has realized its comprehensive rights far beyond cultural sphere in Chinese domestic context.Not limited to the field of cultural industry,Anime also has a profound impact on Chinese mass cultural space in a intercultural way.Distinguish from the generalized concept of"Animation produced in Japan",this article discusses the types of Japanese animation(Anime)that formed a stable representation,inertial narrative structure,and fixed media paradigm after 1960s.On this basis,drawing on the relevant techniques of image and narrative of structuralism,this study goes deep into the representation and narrative structure of animation,attempts to construct a Anime semiology system.Although the form of contemporary commercial animation can not be separated from the imitation of the film,animation semiotic has the virtual nature of non-being reality.Therefore,in the investigation of image and motion semiotic of animation,we follow the modeling mechanism of fine arts,and emphasize the combination of"characteristic"and"style"in the composition of image codes.On the other hand,starting from the productive characteristics of multiplanar mechanism of Anime,the meaning structure of the motion sememe under the superposition of absolute motion and relative motion in Anime has been constructed.On this basis,this paper explores the symbol system of Anime in the rhetoric and narrative way.The first is that the"perceptual sign"under the identification and the"style sign"play the role of awakening the media and artistic apperception,the second is the interpretation of the meaning produced by iconicity,deixis,conventionality and deconstruction in the"rhetoric sign",finally,we also note that the meaning of the animation has been temporarily laid up,and sum it into the category of"unconscious"signs.In addition to the whole macro frame of meaning impetus,this paper also focuses on the related narrativity after symbol representation.In this paper,the author discuss the narrative semiotic system of Anime in two ways:"character"and"scenario".Character in Anime not only complete the identification and physical reference in a semiotical way,but also shares a"lingusitical characteristic"under aesthetics and narrative.Taking"anthropomorphic"and"role-relations"genres in Anime as examples,the corresponding structure between character and narrative presented to be a regular pattern.For the scenario in Anime,except for the necessary semiotic means which intergrate narrative environment,such as time,space and abstract rhetoric."Scnerio"and"character"under multiplanar also show a structural feature with Anime peculiarity.Firstly,the multifaceted combination of scenes and characters creates a“multiplanar montage”signifying practice for scenes and characters intertextuality.Secondly,the combination of"virtual character"and"realistic scenario",has produced the"close"and"substitute"signifying characteristic as"extended reality".In the second half of this article,the author examines the audience consumption issues under semiology method.Media-Mix of Japanese animation is a topic that we cannot avoid,since the appearance from World War II,Media-mix in Anime gradually evolved into the core of Anime’s media application.Such as the"Doujin culture"that appears in media-mix system not only creates the"atmosphere"of reinterpretation of the audience,but also acts as a"barometer"that influences Anime’s interpret and production and could be seen as a“talent-reserve”which provided potential manpower to Anime industry.Matching the research approach in Chapter 2,we also focus"character"and"worldview"as structure when we considering audience consumption.First of all,through the methodolgy of multimode research and semantic analysis,this article considers"eyes"to be the"organs of the subject"in Anime characters.Similarly,the high contextual connotation of"eyes"and the attribute of the"punctum"of character image plays the function of"Appr?sentation"for virtual character.Furthermore,due to the"symbol-body"ambiguity of the Japanese animation character itself,Audiences are not only trapped in the story world inspired by the narrative subject in the plot,but also have a metatheoretical choice of zero focus"heroization".Character composition in Anime not only condenses the narrative fragments of the"Story-telling consumption(Monogatari-Shyohi-ron)"theory,as the significance of"Moe-element consumption"since 21~stt century,the public interpretation under"Database consumption"also became a key to understand the hypertextual characteristic in such phenomenon.For the consumption motive of"Moe-element"itself,the aesthetic form of"Moe"is not limited to the extension of childish social thinking and cute aesthetics.Its essence is caused by the ambiguity of the character’s"body"itself,explicit expression of the desires of the audience.As the studies of the"worldview",the author discusses the"realism"issues which show controversiality in related studies.Different from the reality determined by the"naturalistic(Shizen-Shugi)"observation origin in"anime-comic realism"and the linguistic tendency of"translucent realism",this article puts forward the argument of"mixed reality"towards Anime realism.After that,this article also concludes and summarizes the intercultural communication related with Anime from a semiotical perspective.By compositing different aspect of Anime,a final criticize on Anime has been put forward."structure unitarism","the ambiguity of body-sign","market overdraw under media-mix"are three main negatives considered in modern Anime cultural/industrial environment.Finally,to make best use of Anime’s success story and avoid disadvantages,the dissertation tries to give some applicable advice to Chinese animation creator and policy maker.