本文選題：動(dòng)畫電影　切入點(diǎn)：反派角色　出處：《贛南師范學(xué)院》2014年碩士論文

【摘要】：動(dòng)畫角色形象是一種藝術(shù)形式的視覺符號(hào)，角色的塑造是動(dòng)畫電影中一個(gè)非常重要的創(chuàng)作環(huán)節(jié)。隨著創(chuàng)作理念的不斷更新和人們生活狀態(tài)、心理狀態(tài)以及審美取向的不斷變化，動(dòng)畫電影中的反派角色越來越吸引觀眾的眼球。反派身上的逆反性、矛盾性、悲劇性的特征也越來越能滿足觀眾的審美需求。沒有觀眾樂意觀看一成不變的老劇情、老套路，因此反派角色的塑造方法應(yīng)該不斷創(chuàng)新進(jìn)步。為了迎合動(dòng)畫產(chǎn)業(yè)的飛速發(fā)展，動(dòng)畫電影反派角色塑造的研究也同樣具有深遠(yuǎn)的意義。目前國(guó)內(nèi)動(dòng)畫電影在關(guān)于反派角色塑造方面的研究仍處于缺少狀態(tài)，本文通過分析全球動(dòng)畫電影中反派角色的塑造現(xiàn)狀，歸納總結(jié)出相應(yīng)的塑造方法，尤其是要改善國(guó)內(nèi)動(dòng)畫電影反派角色塑造上存在的臉譜化、模式化現(xiàn)象。根據(jù)現(xiàn)有的塑造方法，對(duì)反派角色靜態(tài)造型和動(dòng)態(tài)表演的設(shè)計(jì)以及在視聽表現(xiàn)方面做創(chuàng)新塑造，并運(yùn)用塑造理論與塑造實(shí)踐相結(jié)合的方式，為今后動(dòng)畫電影反派角色的塑造做創(chuàng)新嘗試。 動(dòng)畫電影中的反派角色同樣是個(gè)有自己想法的真實(shí)的“人”，是能通過語言和觀眾溝通，，通過肢體動(dòng)作和觀眾進(jìn)行情感交流的角色形象。本文的觀點(diǎn)就是將現(xiàn)實(shí)生活中人性的復(fù)雜通過這個(gè)反派角色傳達(dá)出來，不光看外表下判斷。相反，反派角色也可以很可愛，很受歡迎，擺脫一種反派角色就是惹人厭惡的錯(cuò)誤觀念。用成熟的創(chuàng)作理念，爭(zhēng)取做到讓觀眾在情感上的認(rèn)同。嘗試塑造出更加真實(shí)飽滿、戲劇多面，讓觀眾看了又愛又恨，具有顛覆性的反派形象。
[Abstract]:Animation character image is a kind of visual symbol of art form, and character shaping is a very important creative link in animation film. With the constant renewal of creative idea and the changing of people's living state, psychological state and aesthetic orientation, the animation character image is a kind of visual symbol in the art form, and the character shaping is a very important creative link in the animation film. The characters of the villain in the animated film are attracting the audience's attention more and more. The rebellious, contradictory and tragic features of the villain are also more and more able to meet the aesthetic needs of the audience. Therefore, the methods of portraying villain characters should be innovated and improved constantly. In order to cater to the rapid development of animation industry, The research on the role shaping of the villain is also of far-reaching significance. At present, the research on the role shaping of the villain in the domestic animation film is still in a lack of state. This paper analyzes the current situation of the villain character shaping in the global animation film. Summarizes the corresponding molding methods, especially to improve the domestic animation film villain character shaping on the face, pattern phenomenon. According to the existing molding methods, This paper designs the static modeling and dynamic performance of the villain role and innovates in the aspect of audio-visual performance, and makes an innovative attempt for the creation of the villain character in the future by combining the theory of moulding with the practice of moulding. The villain in the animated movie is also a real "person" with his own ideas, who can communicate with the audience through language. The role image of emotional communication with the audience through body movements. The point of view in this paper is to convey the complexity of human nature in real life through this villain character, not only judging from the outside. On the contrary, the villain character can also be very cute. Popular, getting rid of a villain is a disgusting misconception. With mature creative ideas, try to make the audience emotional identity. Try to create a more realistic, multi-faceted drama, let the audience watch both love and hate. A subversive villain.
【學(xué)位授予單位】：贛南師范學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 劉漢民;論逆向思維[J];重慶工學(xué)院學(xué)報(bào);2005年09期

2 常麗芳;;好萊塢動(dòng)畫形象塑造的三大法寶——從《功夫熊貓》談起[J];電影文學(xué);2008年18期

3 王建設(shè);;試論電影音樂在電影劇情發(fā)展中的作用[J];電影文學(xué);2009年16期

4 汪芳;;淺析中美動(dòng)畫片角色設(shè)計(jì)之區(qū)別[J];電影文學(xué);2009年23期

5 張巧鳳;;為動(dòng)畫電影“創(chuàng)造”最耀眼的“商標(biāo)”——談動(dòng)畫電影的角色塑造[J];電影文學(xué);2009年24期

6 呂鋒;;從文化傳承中探尋中國(guó)動(dòng)畫產(chǎn)業(yè)創(chuàng)新發(fā)展的道路[J];電影評(píng)介;2008年19期

7 劉e

本文編號(hào)：1653277