A Study On The Visual Narration Of Edward Yang's Movies

Edward Yang is a well-known director in Taiwan,a flag bearer and representative figure of Taiwan's new film movement.The new film movement is the new wave movement of Taiwan's film.Young directors,represented by Edward Yang,who are deeply influenced by the new wave thought,have realized the renewal of Taiwan's traditional film format through the exploration of film language,which has enabled Taiwan's film to enter the world and laid the foundation for the development of Taiwan's film to a certain extent.During Edward Yang's creative career,Taipei has always been the object of concern.Because of the calm macro and warm and delicate layout of his works,he has been called "the scalpel of Taiwanese society".Edward Yang has a profound background in science and engineering,has a master's degree in computer science,and is an excellent computer engineer,which also lays a solid foundation for the overall style of his works.Because of his love for architecture,comics,music and other art forms,Edward Yang turned to film creation and chose to independent production because he hated the stereotyped traditional film and television programs.Finally,he used the visual narrative technique of "telling stories with pictures" derived from comic experience to build his own aesthetic style.In terms of theme,his works first emphasize the connection between the past and the future in the process of social development and the re-establishment of the relationship between people.It has realistic tendency and rich practical significance.Secondly,it pays attention to the state of human beings in social change,and holds that the environment determines the fate of human beings.Therefore,there are abundant interactive relations between human beings and environment in its films,which are manifested in rich scene scheduling.At the same time,visual elements such as architectural background,light,shadow and color also participate in the narrative.The combination of vision and narrative makes its representation of events of contemporary semiotic significance,which also provides a prerequisite for the study of visual narrative.Contemporary semiotics is an interdisciplinary semiotics reconstructed after the prevalence of deconstructionism.It breaks through the limitations of formalism and links internal research with peripheral research.Mick Barr,a representative figure,introduced narratology into semiotics.Through the concept of "focusing",which originated from narratology,he penetrated the picture and language,and realized the integration of "visual narration" in theory.From this,he developed the theory of visual narrative semiotics and opened up a new field of Semiotics in art history.In 2013,the framework of visual narrative analysis was proposed,based on the introduction of a new interpersonal meaning construction mechanism of focusing system,combined with the analysis of conceptual meaning and text meaning construction mechanism,to achieve a complete interpretation of text visual narrative at the framework level.It enriches and develops Barr's visual narrative theory in the theoretical framework,and realizes the realistic care of the film text with its practicality.Based on the framework of visual narrative analysis and the interaction mechanism of Barr's reader orientation,this paper analyses the manipulation of Edward Yang's interpersonal meaning construction mechanism,the expressiveness of the conceptual meaning construction mechanism and the integrity of the text meaning construction mechanism.This paper analyses the formation mechanism of its visual narrative style and meaning transmission,and provides the corresponding theoretical reference for the development and dissemination of contemporary realistic movies in China.At the same time,through the analysis of specific texts,we can verify the practicality of applying the new theoretical framework to the study of film texts.