發(fā)布時(shí)間：2018-05-01 16:19

  本文選題：韓國(guó)動(dòng)畫(huà)電影 + 悲劇內(nèi)涵��； 參考：《延邊大學(xué)》2017年碩士論文

【摘要】：作為與中國(guó)一衣帶水的鄰邦,韓國(guó)是典型的亞洲文化、半島文化,既植根于本國(guó)的傳統(tǒng)又吸收了優(yōu)秀的外來(lái)文化。地緣特征和曲折的歷史進(jìn)程帶給韓國(guó)人憂患與悲情,東方文化傳統(tǒng)又帶給韓國(guó)人以含蓄和內(nèi)斂,這是一個(gè)充滿憂患意識(shí)自強(qiáng)不息的民族,她的文化也因而具有高度的開(kāi)放性、靈活性與包容性。21世紀(jì)以來(lái),韓國(guó)電影產(chǎn)業(yè)崛起,以其"亞洲文化"的標(biāo)簽迎來(lái)了發(fā)展的春天,在亞洲諸國(guó)中脫穎而出,取得了不俗的成績(jī),韓國(guó)的動(dòng)畫(huà)電影也以此為方向開(kāi)始了新的轉(zhuǎn)變,擺脫了曾經(jīng)低迷不振的困境,立足于世界動(dòng)畫(huà)制作大國(guó)之列。動(dòng)畫(huà)電影作為一種突破了傳統(tǒng)形式與規(guī)范的新興藝術(shù),克服了實(shí)拍電影所受的時(shí)間和空間的限制,以繪圖的大膽夸張、色彩的自由運(yùn)用、想象的天馬行空吸引著少年兒童和成人觀眾。韓國(guó)的動(dòng)畫(huà)電影卻不以奇思妙想致勝,也不熱衷于夸張的造型藝術(shù),故事背景、人物形象往往取材于現(xiàn)實(shí)生活,擅長(zhǎng)平淡的敘事和細(xì)膩的人物刻畫(huà),以再現(xiàn)現(xiàn)實(shí)中韓國(guó)人細(xì)微的精神世界。它所表現(xiàn)的傳承民族文化的責(zé)任感、探索精神和思辨理性,都呈現(xiàn)出鮮明的韓國(guó)風(fēng)格,在激烈的國(guó)際競(jìng)爭(zhēng)中贏得了業(yè)界的認(rèn)可和國(guó)內(nèi)外觀眾的口碑。韓國(guó)動(dòng)畫(huà)電影民族風(fēng)格的形成得益于其優(yōu)秀傳統(tǒng)文化的滋養(yǎng),更與其獨(dú)特的美學(xué)追求和審美價(jià)值取向密切相關(guān)。因此,本文將重點(diǎn)研究論述審美視域下21世紀(jì)以來(lái)韓國(guó)動(dòng)畫(huà)電影的美學(xué)指涉。第一章緒論部分主要論述了本文的研究目的、研究意義和研究方法,以及國(guó)內(nèi)外相關(guān)研究情況,對(duì)本文的研究背景予以整體的把握;第二章對(duì)動(dòng)畫(huà)和動(dòng)畫(huà)電影的概念及韓國(guó)動(dòng)畫(huà)電影的發(fā)展進(jìn)行簡(jiǎn)單的概述,介紹了動(dòng)畫(huà)、動(dòng)畫(huà)藝術(shù)與動(dòng)畫(huà)電影概念上的主要區(qū)別,論述了韓國(guó)動(dòng)畫(huà)電影發(fā)展的孕育期、萌芽期、成長(zhǎng)期、轉(zhuǎn)變期及21世紀(jì)以來(lái)發(fā)展的整體情形,并對(duì)21世紀(jì)以來(lái)韓國(guó)動(dòng)畫(huà)電影進(jìn)行簡(jiǎn)單的分類,列舉相關(guān)作品;第三章,筆者從韓國(guó)動(dòng)畫(huà)電影中悲劇性的痛感體驗(yàn)和自然美的快感體驗(yàn)兩個(gè)方面,分析了韓國(guó)動(dòng)畫(huà)電影在審美內(nèi)涵上的追求。悲劇性方面,論述了韓國(guó)文化中"恨"的悲劇精神傳統(tǒng),并從韓國(guó)動(dòng)畫(huà)電影中死亡痛苦和生活憂苦的兩種具體表現(xiàn)分析其悲劇性的精神內(nèi)蘊(yùn);自然美方面,論述了韓國(guó)文化中對(duì)自然美學(xué)的崇尚,分析韓國(guó)動(dòng)畫(huà)電影中自然意境的營(yíng)造、對(duì)自然本性與人性關(guān)系的思索及其自然為之、本真質(zhì)樸的創(chuàng)作精神;第四章,筆者的論述從韓國(guó)動(dòng)畫(huà)電影審美的精神內(nèi)蘊(yùn)方面轉(zhuǎn)向?qū)徝赖男问阶非?從語(yǔ)言形式上更為深入地發(fā)掘韓國(guó)動(dòng)畫(huà)電影視覺(jué)性形式美的表現(xiàn)——即造型上的色彩語(yǔ)言和空間語(yǔ)言。色彩語(yǔ)言層面從色彩的視覺(jué)性和色彩的情感性兩個(gè)方面論述,分析了韓國(guó)動(dòng)畫(huà)電影的視覺(jué)特色和精神內(nèi)蘊(yùn)的傳遞。空間語(yǔ)言層面主要從物性空間的空間敘事功能和呈現(xiàn)空間的空間修辭功能探索韓國(guó)動(dòng)畫(huà)電影對(duì)電影空間美學(xué)功能的發(fā)掘。文章的最后部分為總結(jié),總結(jié)了韓國(guó)動(dòng)畫(huà)電影的審美藝術(shù)特色和審美超越性,并以韓國(guó)動(dòng)畫(huà)電影的發(fā)展模式和美學(xué)風(fēng)格為鑒,思考當(dāng)下中國(guó)動(dòng)畫(huà)電影發(fā)展之可能。
[Abstract]:As a neighbour with China, Korea is a typical Asian culture. The culture of the peninsula is rooted in the national tradition and absorbs the excellent foreign culture. The geographical features and the tortuous historical process bring the Koreans suffering and grief, and the eastern cultural tradition brings the Koreans implicit and introverted, which is full of anxiety consciousness self. With the strong and open nation, her culture also has high openness, flexibility and inclusiveness in the.21 century, the rise of Korean film industry, the spring of its "Asian culture", which has come to the fore in all the countries of Asia, and has made a new change in the direction of the Korean Animation film, As a new art which breaks through traditional forms and norms, animated movies have overcome the time and space limitations of the real film, with the bold exaggeration of the drawing, the free use of color, and the imagination to attract children and children. People's audience. Korean animated movies do not win with fantastic ideas, nor are they keen on exaggerated plastic arts, the background of the story, the character images are often drawn from real life, good at plain narration and delicate characterization, in order to reproduce the subtle spiritual world of the Korean people. It shows the sense of responsibility for inheriting national culture and exploring essence. Both God and speculative reason have shown a distinctive Korean style and won the recognition of the industry in the fierce international competition and the word-of-mouth of the audience at home and abroad. The formation of the national style of Korean animated movies is benefited from the nourishment of its excellent traditional culture, and is closely related to its unique aesthetic pursuit and the value orientation of the United States. The first chapter mainly discusses the purpose of the study, the significance and research methods of this paper, and the relevant research at home and abroad, and the research background of this article, and the second chapter of the concept of animation and animated movies and Korean Animation. The development of the film is briefly summarized, the main differences between animation, animation and animated movies are introduced. The development period, germination period, growth period, transformation period and the overall situation of the development of Korean animation film have been discussed, and a simple classification of Korean animation films since twenty-first Century is carried out, and the related works are listed. The third chapter, from two aspects of the tragic feeling experience of the Korean animated movies and the pleasure of natural beauty, the author analyzes the pursuit of the aesthetic connotation of the Korean animated movies. The tragic aspects, the tragic spirit tradition of "hate" in Korean culture, and the two specific forms of death pain and life suffering from the Korean animated films. In the aspect of natural beauty, this paper expounds the advocation of natural aesthetics in Korean culture, the analysis of the creation of natural artistic conception in Korean animated movies, the thinking of natural nature and human nature and its natural and simple creative spirit, and the fourth chapter, the author discusses the aesthetic spirit of Korean Animation Film. The inner aspect turns to the pursuit of aesthetic form. From the form of language, the visual form beauty of Korean animation film is deeply excavated - the color language and space language in the modeling. The color language level is discussed from two aspects of color vision and color emotion, and the visual characteristics of Korean animated films are analyzed. The spatial language level is mainly from the spatial narrative function of physical space and the spatial rhetorical function of the presentation space to explore the exploration of the aesthetic function of the film space in Korean animation film. The final part of the article summarizes the aesthetic artistic features and aesthetic transcendence of the Korean animated films, and the Korean Animation electricity. The development mode and aesthetic style of the film are a reflection of the possibility of the development of China's animated films.

【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J954

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