本文選題：中國(guó)動(dòng)畫(huà) + 視覺(jué)語(yǔ)言　； 參考：《東北電力大學(xué)》2017年碩士論文

【摘要】：中國(guó)動(dòng)畫(huà)在20世紀(jì)20年代起步,雖發(fā)展過(guò)程中遭遇了無(wú)數(shù)的挫折與艱難險(xiǎn)阻,但也曾經(jīng)歷過(guò)“中國(guó)學(xué)派”的輝煌時(shí)期。傳統(tǒng)意義上靜止的畫(huà)面是動(dòng)畫(huà)的單獨(dú)一幀,結(jié)合影視語(yǔ)言規(guī)律以每秒24幀的速率連續(xù)播放就會(huì)形成獨(dú)特審美風(fēng)格的動(dòng)畫(huà)藝術(shù)。這些動(dòng)畫(huà)藝術(shù)以其獨(dú)特的審美風(fēng)格區(qū)分。例如情節(jié)幽默夸張、畫(huà)風(fēng)寫實(shí)的美式動(dòng)畫(huà)風(fēng)格,又例如追求細(xì)節(jié)和深刻內(nèi)容意義的日本動(dòng)畫(huà)。在“中國(guó)學(xué)派”輝煌時(shí)期,中國(guó)動(dòng)畫(huà)更注重于藝術(shù)至上、形式多樣,更多的接近藝術(shù)片而非商業(yè)片。中國(guó)動(dòng)畫(huà)吸收借鑒傳統(tǒng)文化的精髓,與國(guó)畫(huà)、年畫(huà)、版畫(huà)、壁畫(huà)、京劇、民間剪紙、皮影戲等多門類藝術(shù)形式融于一體,創(chuàng)作出水墨動(dòng)畫(huà)、木偶動(dòng)畫(huà)、剪紙動(dòng)畫(huà)等具有民族風(fēng)格的動(dòng)畫(huà)形式。在現(xiàn)代社會(huì)商業(yè)經(jīng)濟(jì)的作用下,現(xiàn)代的中國(guó)動(dòng)畫(huà)為了追求最大的經(jīng)濟(jì)利益,動(dòng)畫(huà)制作已經(jīng)變成模式化的流水線產(chǎn)品。如今的中國(guó)動(dòng)畫(huà)偏向于模仿美國(guó)三維動(dòng)畫(huà)的寫實(shí)風(fēng)格和日本二維動(dòng)畫(huà)的唯美風(fēng)格,從而舍棄了中國(guó)民族動(dòng)畫(huà)的精髓。大多數(shù)的中國(guó)動(dòng)畫(huà)人不能將這些優(yōu)點(diǎn)和我們中國(guó)本土的題材相結(jié)合,創(chuàng)造出能夠表達(dá)中國(guó)傳統(tǒng)審美特點(diǎn)的優(yōu)秀動(dòng)畫(huà)片,所以缺乏本土特色是現(xiàn)今中國(guó)動(dòng)畫(huà)的一大難題。本課題是研究中國(guó)動(dòng)畫(huà)的視覺(jué)語(yǔ)言,從表面可觀察到的表現(xiàn)形式到其內(nèi)在的傳統(tǒng)藝術(shù)審美理論來(lái)分析中國(guó)動(dòng)畫(huà)視覺(jué)語(yǔ)言的傳承與創(chuàng)新研究,這對(duì)于當(dāng)下中國(guó)動(dòng)畫(huà)創(chuàng)作有著一定的啟發(fā)意義與指導(dǎo)作用。本課題的主要研究?jī)?nèi)容包括中國(guó)動(dòng)畫(huà)視覺(jué)語(yǔ)言的發(fā)展歷程;中國(guó)動(dòng)畫(huà)視覺(jué)語(yǔ)言的表現(xiàn)形式;中國(guó)動(dòng)畫(huà)視覺(jué)語(yǔ)言對(duì)傳統(tǒng)藝術(shù)的傳承借鑒;中國(guó)動(dòng)畫(huà)視覺(jué)語(yǔ)言的創(chuàng)新應(yīng)用分析;畢業(yè)設(shè)計(jì)作品應(yīng)用解析這幾個(gè)方面。本課題研究中國(guó)動(dòng)畫(huà)視覺(jué)語(yǔ)言的傳承與創(chuàng)新,主要從中國(guó)動(dòng)畫(huà)視覺(jué)語(yǔ)言的形成歷史進(jìn)行背景分析,也要對(duì)其代表性的特殊的視覺(jué)語(yǔ)言表現(xiàn)形式進(jìn)行分析,然后結(jié)合中國(guó)傳統(tǒng)審美文化來(lái)解析中國(guó)動(dòng)畫(huà)視覺(jué)語(yǔ)言對(duì)傳統(tǒng)藝術(shù)的傳承借鑒,再對(duì)這些視覺(jué)語(yǔ)言的創(chuàng)新應(yīng)用進(jìn)行解析,最后用理論指導(dǎo)實(shí)踐的展開(kāi),創(chuàng)作自己的畢業(yè)設(shè)計(jì)并分析不足之處。
[Abstract]:Chinese animation started in the 1920s. Although it has encountered numerous setbacks and difficulties in its development, it has also experienced the brilliant period of "Chinese school". Traditionally, a still picture is a single frame of animation, and the animation art of unique aesthetic style can be formed by continuous playing at the rate of 24 frames per second combined with the rules of film and television language. These animation art is distinguished by its unique aesthetic style. For example, the plot is humorous and exaggerated, the style of American animation is realistic, and the Japanese animation, which pursues the details and profound content meaning. In the brilliant period of "Chinese School", Chinese animation paid more attention to art supremacy, various forms, more close to art film rather than commercial film. Chinese animation absorbs the essence of traditional culture and combines with traditional Chinese painting, New year painting, print painting, murals, Peking Opera, folk paper-cut, shadow play and other kinds of art forms to create ink and ink animation, puppet animation, etc. Paper-cut animation and other forms of animation with national style. Under the action of commercial economy in modern society, modern Chinese animation has become a modular assembly line product in order to pursue the greatest economic benefits. Nowadays, Chinese animation tends to imitate the realistic style of American 3D animation and the aesthetic style of Japanese 2D animation, thus abandoning the essence of Chinese national animation. Most Chinese animators can not combine these advantages with our native themes, and create excellent animation that can express the traditional aesthetic characteristics of China, so the lack of local characteristics is a big problem of Chinese animation nowadays. This topic is to study the visual language of Chinese animation, from the apparent form of expression to its inherent traditional artistic aesthetic theory to analyze the inheritance and innovation of Chinese animation visual language. This for the current Chinese animation creation has a certain enlightening significance and guidance. The main research contents of this topic include the development course of Chinese animation visual language, the expression form of Chinese animation visual language, the inheritance and reference of Chinese animation visual language to traditional art, the innovation and application analysis of Chinese animation visual language; Application analysis of graduation design works. This paper studies the inheritance and innovation of Chinese animation visual language, mainly from the history of the formation of Chinese animation visual language background analysis, but also to its representative special form of visual language expression analysis. Then combined with Chinese traditional aesthetic culture to analyze the inheritance and reference of Chinese animation visual language to traditional art, then to analyze the innovative application of these visual languages, and finally to use theory to guide the development of practice. Create your own graduation project and analyze the deficiencies.
【學(xué)位授予單位】：東北電力大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 李書(shū)增;;中國(guó)傳統(tǒng)造型藝術(shù)在動(dòng)畫(huà)設(shè)計(jì)中的轉(zhuǎn)換研究[J];藝術(shù)與設(shè)計(jì)(理論);2015年05期

2 劉暢;;皮影藝術(shù)在動(dòng)畫(huà)創(chuàng)作中的借鑒與應(yīng)用[J];現(xiàn)代裝飾(理論);2015年04期

3 楊嵐;徐天韻;;淺議中國(guó)當(dāng)代優(yōu)秀動(dòng)畫(huà)的美術(shù)表現(xiàn)形式[J];美術(shù)教育研究;2015年06期

4 萬(wàn)星妤;張力維;;動(dòng)畫(huà)場(chǎng)景設(shè)計(jì)中的本土文化元素的運(yùn)用[J];現(xiàn)代裝飾(理論);2015年01期

5 杜巧月;;中國(guó)水墨動(dòng)畫(huà)的歷史傳承與藝術(shù)創(chuàng)新[J];信陽(yáng)師范學(xué)院學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2014年03期

6 李本建;;論中國(guó)動(dòng)畫(huà)中民族傳統(tǒng)文化的傳承與創(chuàng)新[J];電影文學(xué);2014年07期

7 田明星;;動(dòng)畫(huà)角色設(shè)計(jì)的視覺(jué)語(yǔ)言研究[J];青年文學(xué)家;2013年26期

8 王磊;;論中國(guó)動(dòng)畫(huà)對(duì)中國(guó)美術(shù)的傳承[J];藝海;2013年04期

9 楊慧;;Starting from a "Goat":The Globalization of Chinese Animation[J];海外英語(yǔ);2013年04期

10 付野;;探析影視動(dòng)畫(huà)中色彩藝術(shù)的審美意蘊(yùn)[J];電影文學(xué);2012年12期

相關(guān)碩士學(xué)位論文 前6條

1 黃玉杰;傳統(tǒng)戲曲與現(xiàn)代動(dòng)畫(huà)結(jié)合的研究[D];山西師范大學(xué);2014年

2 謝延楠;皮影藝術(shù)與動(dòng)畫(huà)結(jié)合的現(xiàn)狀及發(fā)展探究[D];沈陽(yáng)師范大學(xué);2013年

3 吳乃群;試論中國(guó)動(dòng)畫(huà)“民族化”的傳承與發(fā)展[D];哈爾濱理工大學(xué);2012年

4 樊譯蔚;論國(guó)產(chǎn)動(dòng)畫(huà)中傳統(tǒng)文化資源的開(kāi)發(fā)與利用[D];南京農(nóng)業(yè)大學(xué);2009年

5 肖忠文;中國(guó)動(dòng)畫(huà)藝術(shù)對(duì)民族文化元素運(yùn)用之研究[D];湖南師范大學(xué);2009年

6 尉遲姝毅;動(dòng)畫(huà)視覺(jué)語(yǔ)言[D];大連工業(yè)大學(xué);2008年

，

本文編號(hào)：1866569