Framed Female Image: A Pictorial Semiotic Analysis of Classic Shanghai Calendar Posters of the 1910`s-1930`s

Abstract

The present study conducts a pictorial semiotic analysis of the female image in Classic Shanghai Calendar Posters of the 1910`s-1930`s. First of all, we review Roland Barthes` and Göran Sonesson`s theoretical perspectives towards pictorial semiotics and then propose four essentials to distinguish the features of pictorial texts, especially those of print advertisements. These four essentials are types of code, goals, media and textuality. Furthermore, we find the Calendar Posters` \"textuality,\" the configuration of both linguistic text and pictures that produces meanings, is in the pattern of that pictorial meanings are restrained by linguistic text, and the core visual sign of this genre is \"the framed female image.\" At last, the present study explores different layers of the significances of the two major signs—\"the frame\" and \"the female image.\" According to the analysis, from prostitutes to movie actresses, there had been dramatic changes of female characters in the posters due to the invading capitalism accompanied by economic growth and western modern culture. The female image in these Calendar Posters represents no longer an object of desire for male gaze as those in common commercial posters depicted by Goffman, Buker or Page. In fact, the significances of the female image go far beyond the frame of feudalization and tradition, signifying the consumers` expectation of a better future, and this \"better future\" will be achieved by a healthy, well-educated and independent fine woman. \"The female image\" signifies beyond \"the frame.\" The female image of Classic Shanghai Calendar Posters subverts the patriarchy embedded in Chinese feudalistic tradition and Western capitalism, and it finally reserves a precious moment of revisiting Chinese women history from the perspective of pictorial semiotics.