“审美移情”视阈下的电影片名字体设计研究  

A Study on the Font Design of Film Titles from the Perspective of “Aesthetic Empathy”

作　　者：许昭怡 

机构地区：[1]浙江理工大学艺术与设计学院,浙江 杭州

出　　处：《Design（汉斯）》2023年第4期2906-2913,共8页设计（汉斯）

摘　　要：文字作为传情达意的一种沟通媒介,在设计美学上备受关注。日常生活中,欣赏电影作为人们现代生活中最普遍的审美欣赏活动,时时刻刻都在发生,其片名字体如同人名签名一样必要且重要。文章以电影的汉字片名字体设计为出发点,分析“审美移情”在电影片名设计中的运用方法,论述“审美移情”理论如何架构起电影与观者之间情感共鸣的桥梁,更利于电影片名字体传达电影的艺术与人文特性。文章对电影的片名字体立足于给予法、拟人法和象征法三方面进行分析论述,以便于在快速多元的信息时代更加动人美观地传递影片信息,满足市场的功能需求,迎合受众的情感需求。Text, as a communication medium for conveying emotions and ideas, has received great atten-tion in design aesthetics. In daily life, watching movies, as the most common aesthetic appreciation activity in people’s modern life, is happening all the time, and its film name is as necessary and important as a person’s name signature. The article takes the design of Chinese character film title fonts for various types of movies as the starting point, analyzes the application method of “aesthetic empathy” in film title design, and discusses how the theory of “aesthetic empathy” constructs a bridge for emotional resonance between movies and viewers, which is more conducive to conveying the artistic and humanistic characteristics of movies through film title fonts. The article analyzes and discusses the font of movie titles based on three aspects: giving, personification, and symbolism, in order to better convey film information in a fast and diverse information age, meet the functional needs of the market, and cater to the emotional needs of the audience.

关 键 词：移情理论 审美 电影片名字体 

分 类 号：J90[艺术—电影电视艺术]