本文選題：動(dòng)畫(huà) + 日本成人動(dòng)畫(huà)��； 參考：《陜西師范大學(xué)》2014年碩士論文

【摘要】：動(dòng)畫(huà)自誕生之初,其娛樂(lè)性就是它的主要功能。隨著經(jīng)濟(jì)和科技的發(fā)展,信息傳達(dá)也越加圖像化和動(dòng)態(tài)化。動(dòng)畫(huà)作為一種大眾藝術(shù)形式,它獨(dú)特的視覺(jué)形式和審美價(jià)值也被更多人認(rèn)知。每一個(gè)國(guó)家的動(dòng)畫(huà)創(chuàng)作者都在試圖挖掘出動(dòng)畫(huà)形象的深層藝術(shù)性和文化特征,讓其創(chuàng)作的動(dòng)畫(huà)作品能夠展現(xiàn)出更多民族文化,并能適應(yīng)全球大眾的欣賞習(xí)慣。這已經(jīng)成為一個(gè)國(guó)家的動(dòng)畫(huà)電影是否趨向成熟的標(biāo)志之一。 伴隨著中國(guó)經(jīng)濟(jì)的高速增長(zhǎng),動(dòng)畫(huà)在我國(guó)社會(huì)生活和經(jīng)濟(jì)中的地位也發(fā)生了明顯的變化。2010年中國(guó)動(dòng)畫(huà)產(chǎn)量超越日本,成為第一動(dòng)畫(huà)生產(chǎn)國(guó)。但是與傳統(tǒng)動(dòng)畫(huà)強(qiáng)國(guó)相比較,中國(guó)動(dòng)畫(huà)由于產(chǎn)業(yè)基礎(chǔ)薄弱,經(jīng)驗(yàn)不足,無(wú)論在作品質(zhì)量還是影響力方面都和動(dòng)畫(huà)強(qiáng)國(guó)有著明顯的差距。因此,怎樣有效的借鑒國(guó)外動(dòng)畫(huà)的成功經(jīng)驗(yàn),也是我國(guó)動(dòng)畫(huà)產(chǎn)業(yè)發(fā)展的關(guān)鍵所在。 縱觀當(dāng)今世界動(dòng)畫(huà)領(lǐng)域,美國(guó)、日本、韓國(guó)被視為世界動(dòng)畫(huà)三大強(qiáng)國(guó)。其中日本和中國(guó)有著相似的文化淵源。日本動(dòng)畫(huà)發(fā)展至今受眾廣泛,動(dòng)畫(huà)題材也極為寬泛,日本動(dòng)畫(huà)作品在娛樂(lè)中極為關(guān)注人文意識(shí)的內(nèi)涵表現(xiàn),在思想意識(shí)中注重商業(yè)價(jià)值的開(kāi)發(fā),在虛幻中展示現(xiàn)實(shí)社會(huì),逐漸形成了多類(lèi)別的動(dòng)畫(huà)創(chuàng)作模式。投合了不同年齡層的受眾審美情感,不僅滿足了少年兒童的成長(zhǎng)訴求,也迎合了成人心靈深處難以磨滅的童真與夢(mèng)想。 本文主要是對(duì)日本成人動(dòng)畫(huà)發(fā)展進(jìn)行研究,文章脈絡(luò)比較清晰。 第一章,就研究背景意義、當(dāng)前研究現(xiàn)狀和研究方法以及創(chuàng)新之處進(jìn)行了闡述。 第二章,主要就動(dòng)畫(huà)的相關(guān)概念進(jìn)行界定與解釋,關(guān)于：“動(dòng)畫(huà)”,“成人”,“成人動(dòng)畫(huà)”概念,以及成人動(dòng)畫(huà)的價(jià)值體現(xiàn)。具體有精神價(jià)值、商業(yè)價(jià)值、藝術(shù)價(jià)值這三個(gè)價(jià)值體現(xiàn)。 第三章,將日本成人動(dòng)畫(huà)發(fā)展分為三個(gè)階段,從動(dòng)畫(huà)創(chuàng)作的代表人物及作品進(jìn)行分析,展現(xiàn)了其時(shí)代特征。從成人動(dòng)畫(huà)的商業(yè)運(yùn)作研究日本成人動(dòng)畫(huà)產(chǎn)業(yè)發(fā)展道路。通過(guò)日本成人動(dòng)畫(huà)發(fā)展歷程研究總結(jié)促進(jìn)日本成人動(dòng)畫(huà)發(fā)展的因素,分別是：受眾因素、經(jīng)濟(jì)因素、政治因素。 第四章,著重論述日本成人動(dòng)畫(huà)與民族文化的關(guān)聯(lián)。通過(guò)成人動(dòng)畫(huà)中民族文化情結(jié)的表現(xiàn)和動(dòng)畫(huà)中視聽(tīng)語(yǔ)言的表現(xiàn)特征,可以看出日本成人動(dòng)畫(huà)在創(chuàng)作中對(duì)融合日本民族文化這種創(chuàng)作方式的嫻熟應(yīng)用。 總結(jié),通過(guò)研究日本成人動(dòng)畫(huà)發(fā)展對(duì)中國(guó)成人動(dòng)畫(huà)的啟示。當(dāng)今我國(guó)動(dòng)畫(huà)產(chǎn)業(yè)與日本成人動(dòng)畫(huà)發(fā)展時(shí)期相比較,有很多相似之處。結(jié)合日本成人動(dòng)畫(huà)的成功經(jīng)驗(yàn)對(duì)中國(guó)成人動(dòng)畫(huà)發(fā)展提出建設(shè)性意見(jiàn),以期對(duì)中國(guó)動(dòng)畫(huà)有所啟示。
[Abstract]:Since the birth of animation, its entertainment is its main function. With the development of economy and science and technology, information transmission is more and more graphic and dynamic. Animation as a popular art form, its unique visual form and aesthetic value are also recognized by more people. Animation creators in each country are trying to dig out the deep artistic and cultural characteristics of animation images, so that their animation works can show more national culture, and can adapt to the appreciation habits of the global public. This has become one of the signs of whether a country's animated movies are maturing or not. With the rapid growth of China's economy, the status of animation in China's social life and economy has also changed obviously. In 2010, China's animation output surpassed that of Japan and became the first animation producer. However, compared with the traditional animation power, because of the weak industrial foundation and lack of experience, there is a clear gap between the Chinese animation and the animation power in terms of the quality and influence of the works. Therefore, how to effectively learn from the successful experience of foreign animation is also the key to the development of animation industry in China. Throughout the world animation field, the United States, Japan, South Korea is regarded as the world's three major animation powers. Japan and China have similar cultural origins. Japanese animation has been developed to a wide range of audiences, animation subject matter is also very broad, Japanese animation works in entertainment pay great attention to the connotation of humanistic consciousness, in the ideological awareness of the development of commercial value, in fantasy show the reality of society, Gradually formed a multi-category animation creation model. It not only meets the needs of children's growth, but also caters to the indelible innocence and dreams of adults. This paper is mainly to study the development of adult animation in Japan, the context of the article is relatively clear. In the first chapter, the significance of the research background, current research status, research methods and innovations are described. The second chapter mainly defines and explains the related concepts of animation, about: animation, adult, adult animation, and the value of adult animation. There are three values: spiritual value, commercial value and artistic value. In the third chapter, the development of Japanese adult animation is divided into three stages. This paper studies the development of adult animation industry in Japan from the commercial operation of adult animation. This paper summarizes the factors that promote the development of Japanese adult animation through the study of the development of Japanese adult animation, which are audience factor, economic factor and political factor. The fourth chapter focuses on the relationship between Japanese adult animation and national culture. Through the expression of national cultural complex in adult animation and the characteristics of audiovisual language in animation, it can be seen that Japanese adult animation is skillfully applied to the integration of Japanese national culture in the creation of adult animation. In conclusion, the enlightenment of the development of Japanese adult animation to Chinese adult animation is studied. There are many similarities between Chinese animation industry and Japanese adult animation development period. Based on the successful experience of Japanese adult animation, this paper puts forward some constructive suggestions for the development of Chinese adult animation, in order to enlighten Chinese animation.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王師潔;;探尋日本動(dòng)漫背后的文化特質(zhì)[J];安徽文學(xué)(下半月);2006年12期

2 高uQ勛 ,支菲娜;暴力、動(dòng)畫(huà)片及其淵源[J];北京電影學(xué)院學(xué)報(bào);2004年03期

3 徐建明;;從中日動(dòng)漫發(fā)展看兩國(guó)思想道德教育差異[J];滄桑;2010年04期

4 查國(guó)偉;國(guó)產(chǎn)動(dòng)漫的突圍之路[J];傳媒;2005年01期

5 劉斌;;動(dòng)畫(huà)產(chǎn)業(yè)如何吸引成年人眼球[J];傳媒觀察;2006年03期

6 熊育蘭;;淺析國(guó)產(chǎn)動(dòng)畫(huà)形象的不足與對(duì)策[J];電影評(píng)介;2007年24期

7 畢圣囡;;論成人動(dòng)畫(huà)的概念及其特征[J];大舞臺(tái);2011年09期

8 張耀武;中日文化的三點(diǎn)差異[J];晉陽(yáng)學(xué)刊;2001年06期

9 景宏;;日本動(dòng)漫產(chǎn)業(yè)的發(fā)展及其對(duì)世界的影響[J];日本學(xué)刊;2006年04期

10 徐蕾;從日美動(dòng)畫(huà)片看國(guó)產(chǎn)動(dòng)畫(huà)片[J];首都經(jīng)濟(jì);2003年07期

相關(guān)博士學(xué)位論文 前1條

1 蔡亞南;日本動(dòng)畫(huà)產(chǎn)業(yè)特征研究[D];山東大學(xué);2013年

，

本文編號(hào)：1774424