이 연구는 중국과 한국 주요 영화제인 베이징 국제영화제와 전주 국제 영화제 포스터의 색채 디자인과 문화적 상징성에서 나타나는 문화 간 차 이를 탐구한다. IMAGE COLOR SUMMARIZER와 한국 표준 색채 분석 (KSCA) 프로그램을 활용하여 색채가 감정 표현과 문화적 상징성에서 차 지하는 역할을 정량적 및 정성적으로 분석하였다. 연구 결과, 한국 포스 터는 차가운 색조와 미니멀한 디자인을 선호하여 이성적 미학을 강조하 는 반면, 중국 포스터는 따뜻한 색조와 전통적인 요소를 사용하여 문화 적 풍부함과 국제적 매력을 전달하는 것으로 나타났다. Schmitt의 감각 경험 이론을 통해 본 연구는 브랜드 구축과 문화적 커뮤니케이션에서 독 특한 시각적 전략을 강조하며, 문화 간 시각 커뮤니케이션 연구에 기여 하고자 한다.

이 연구는 20세기 말 이후 중국과 남한의 올림픽 포스터 디자인에서 두드러진 특징과 미묘함을 분석하고 비교합니다. 시각적 표현, 문화적 함 의, 그리고 그들의 사회-역사적 맥락 내의 의사소통 전략을 탐구합니다. 이 연구는 양국이 어떻게 전통적 요소와 현대적 디자인을 독특하게 혼합 하여 국가 정신과 문화적 정체성을 표현하며, 대중의 인식과 감정에 영 향을 주는지를 밝혀냅니다. 또한, 이러한 디자인 뒤에 있는 사회-정치적 동기를 논의하며 미래의 추세를 예상합니다. 이 분석은 중국과 한국의 포스터 디자인의 독특한 가치와 문화 간 의사소통에서의 역할에 대한 새 로운 통찰을 제공합니다.

The propaganda paintings in oil colors or in forms of posters made from 1949 to1966 have gone through some changes experiencing the influence of the Soviet Union Artand discussion of nationalization, while putting political messages of the time in the pictureplanes. The propaganda paintings which have been through this process became aneffective means of encouraging the illiterate people in political ideologies, production, andlearning. Alike other propaganda paintings in different mediums, the ones which werepainted in oil colors and in the form of posters have been produced fundamentally basedon Mao Zedong’s intensification of the literary art on the talks on literature at Yenan. Yet,the oil paintings and posters were greatly influenced by the socialist realism andpropaganda paintings of the Soviet Union, compared to other propaganda paintings indifferent mediums. Accordingly, they were preponderantly dealt in the discussions ofnationalization of the late‘50s. To devide in periods, the establishment of People’s Republic of China in 1949 as adiverging point, the propaganda paintings made before and after 1949 have differences insubject matters and styles. In the former period, propaganda paintings focused on thepolitical lines of the Communists and enlightenment of the people, but in the latter period,the period of Cultural Revolution, the most important theme was worshiping Mao Zedong.This was caused by reflection of the social atmosphere, and it is shown that thepropaganda painters had reacted sensitively to the alteration of politics and the society. Onthe side of formalities, the oil paintings and posters made before the Cultural Revolutionwere under a state of unfolding several discussions including nationalization whileaccepting the Soviet Union styles and contents, and the paintings made afterwards showmore of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world ofart, had strongly influenced the propaganda paintings in oil colors more than anything.There were two major changes in the process of making propaganda paintings in oilcolors. One was to portray lives of the Chinese people truthfully, and the other was toabsorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, andbackgrounds have been greatly Sinicized. For techniques came the flat colored surface ofthe new year prints and the traditional Chinese technique of outlining were used forexpressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, theposters had a very direct representation of subject matters and the techniques wereunskilled compared to the oil paintings. However, after the establishment of People’sRepublic of China, the posters were used more than any other mediums for propagation ofnational policy and participation of the political movements, because it was highly effectivein delivering the policies and political lines clearly to the Chinese people who were mostlyilliterate. The poster painters borrowed techniques and styles from the Soviet Unionthrough books and exhibitions on Soviet Union posters, and this relation of influencesconstantly appears in the posters made at the time. In this way, like the oil paintings, theposters which have been made with a direct influence of the Soviet Union had developeda new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergonethe discussion of nationalization, had put roots deep down in the lives of the Chinesepeople, and this had become another foundation for the amplification of influences ofpolitical propaganda paintings in the following period of Cultural Revolution.