在全球化与数字化进程加速的时代背景下,全世界旅游产业蓬勃发展,旅游宣传片作为一种典型的多模态话语形式,在传播文旅形象中扮演着极为重要的角色。本研究选取《行走河南·读懂中国》和《豫见中国 老家河南》宣传片为语料来源,采...在全球化与数字化进程加速的时代背景下,全世界旅游产业蓬勃发展,旅游宣传片作为一种典型的多模态话语形式,在传播文旅形象中扮演着极为重要的角色。本研究选取《行走河南·读懂中国》和《豫见中国 老家河南》宣传片为语料来源,采取定性分析和定量分析相结合的方法,以Halliday系统功能语法和Kress视觉语法为理论基础,对比分析两部宣传片中语言模态和视觉模态的分布异同。研究发现,在语言模态方面,两部宣传片都倾向于使用及物性系统中的物质过程来构建意义,但后者强调了心理过程的使用;在视觉模态方面,两部宣传片的相似之处在于行动和心理过程都占最大比例,均倾向于采用“提供”的互动意义,但差异在于《行走河南·读懂中国》相对来说更多地使用了分析过程(10.73%)和分类过程(6.2%),中距离镜头(45.02%),相比之下,《豫见中国 老家河南》则更多地采用了象征(12.03%)过程,偏好远距离镜头(46.4%),导致这些差异的根源在于它们各自的创作意图和传播导向。本文的研究不仅揭示了多模态话语分析在文旅形象传播中的重要性,还为河南文旅品牌进一步走向国际市场提供了理论支持和实践指导。In the era of accelerated globalization and digitalization, the global tourism industry is booming. As a typical form of multimodal discourse, tourism promotional videos play an extremely important role in spreading cultural tourism images. This study selects the promotional videos Walking in Henan, Understanding China and Yujian China, Hometown Henan as the source, and adopts a combination of qualitative and quantitative analysis methods. Based on Halliday’s systemic functional grammar and Kress’s visual grammar as theoretical foundations, it compares and analyzes the distribution similarities and differences in the language and visual modes of the two promotional videos. The study found that in terms of language mode, both promotional videos tend to use material processes in the transitivity system to construct meaning, but the latter emphasizes the use of mental processes. In terms of visual mode, the similarity between the two promotional videos is that actions and mental processes both account for the largest proportion, and both tend to use the interactive meaning of “offering”. However, the difference lies in that Walking in Henan, Understanding China relatively uses more analytical processes (10.73%) and classificational processes (6.2%), medium-distance shots (45.02%), while Yujian China, Hometown Henan prefers symbolic processes (12.03%) and long-distance shots (46.4%). The root of these differences lies in their respectively creative intentions and communication orientations. This study not only reveals the importance of multimodal discourse analysis in the spreading of cultural tourism images but also provides theoretical support and practical guidance for Henan’s cultural tourism brand to further enter the international market.展开更多
文摘在全球化与数字化进程加速的时代背景下,全世界旅游产业蓬勃发展,旅游宣传片作为一种典型的多模态话语形式,在传播文旅形象中扮演着极为重要的角色。本研究选取《行走河南·读懂中国》和《豫见中国 老家河南》宣传片为语料来源,采取定性分析和定量分析相结合的方法,以Halliday系统功能语法和Kress视觉语法为理论基础,对比分析两部宣传片中语言模态和视觉模态的分布异同。研究发现,在语言模态方面,两部宣传片都倾向于使用及物性系统中的物质过程来构建意义,但后者强调了心理过程的使用;在视觉模态方面,两部宣传片的相似之处在于行动和心理过程都占最大比例,均倾向于采用“提供”的互动意义,但差异在于《行走河南·读懂中国》相对来说更多地使用了分析过程(10.73%)和分类过程(6.2%),中距离镜头(45.02%),相比之下,《豫见中国 老家河南》则更多地采用了象征(12.03%)过程,偏好远距离镜头(46.4%),导致这些差异的根源在于它们各自的创作意图和传播导向。本文的研究不仅揭示了多模态话语分析在文旅形象传播中的重要性,还为河南文旅品牌进一步走向国际市场提供了理论支持和实践指导。In the era of accelerated globalization and digitalization, the global tourism industry is booming. As a typical form of multimodal discourse, tourism promotional videos play an extremely important role in spreading cultural tourism images. This study selects the promotional videos Walking in Henan, Understanding China and Yujian China, Hometown Henan as the source, and adopts a combination of qualitative and quantitative analysis methods. Based on Halliday’s systemic functional grammar and Kress’s visual grammar as theoretical foundations, it compares and analyzes the distribution similarities and differences in the language and visual modes of the two promotional videos. The study found that in terms of language mode, both promotional videos tend to use material processes in the transitivity system to construct meaning, but the latter emphasizes the use of mental processes. In terms of visual mode, the similarity between the two promotional videos is that actions and mental processes both account for the largest proportion, and both tend to use the interactive meaning of “offering”. However, the difference lies in that Walking in Henan, Understanding China relatively uses more analytical processes (10.73%) and classificational processes (6.2%), medium-distance shots (45.02%), while Yujian China, Hometown Henan prefers symbolic processes (12.03%) and long-distance shots (46.4%). The root of these differences lies in their respectively creative intentions and communication orientations. This study not only reveals the importance of multimodal discourse analysis in the spreading of cultural tourism images but also provides theoretical support and practical guidance for Henan’s cultural tourism brand to further enter the international market.
