Notice of Retraction: Analysis of ideology of Taiwanese New Wave Cinema posters

Abstract

Aesthetic patterns are formed into different systems due to different regional customs, and the language of the contemporary presented by a work could be understood by aesthetics analysis. Poster is a printed media that massively passes messages to the public, it works like a barometer to reflect politics, economics, cultural and arts events of each period in timely manner, and this is particularly outstanding in the usage of the movie posters. The design and artistic style have to present the spirits of the contemporary movie precisely, therefore, understanding a movie poster is to understand the essence of the movie and the designing aesthetics of the contemporary. The study presented here mainly takes the posters of 45 movies being shown in the film festival or awarded in Taiwan and internationally during the period of Taiwanese New Wave Cinema (1990–1998) to explore the designing aesthetics of the movie posters of the period. The result shows these particular posters in the period are mainly presented in the form by the principles below: (i) Use of realistic stills; (ii) The larger space for characters the better; (iii) Divisions of the plan, and central placement with symmetry; (iv) Leaving blank for aesthetics purpose; (v) Piecing together by fragmented elements; (vi) Starting use of synthetic image. Applying eastern aesthetics into design is found in many posters in the study, signifying unique localized aesthetic transformed through history has been instilled into designers' minds through elements including customs, regional characteristics, environment, education, and so on. The design of posters therefore forms a unique regional aesthetics system.