本文選題：中國動畫 + 民族化元素　； 參考：《山東工藝美術(shù)學(xué)院》2013年碩士論文

【摘要】：回顧中國動畫的發(fā)展歷程，自二十世紀(jì)初到二十世紀(jì)九十年代，中國民族動畫在近一百年的時間里由初創(chuàng)、繁榮,逐步走向衰落。民族動畫在其發(fā)展的繁榮時期曾取得舉世矚目的成果，其作為中國文化藝術(shù)的重要組成部分之一，既代表著中華民族藝術(shù)形式的特殊性，也貫穿著中華民族傳統(tǒng)文化精神、民族精神、價值取向、道德素質(zhì)等諸多方面的文化精髓。從這一方面來講，早期民族動畫是因其強烈的民族化特色征服了全世界觀眾而走向輝煌的。然而自上世紀(jì)九十年代以來，民族文化在受到西方外來文化的強烈沖擊下顯得勢單力薄，普及范圍逐漸縮小，欣賞人群逐漸流失。也正是由于這種原因，這一時期的動畫逐漸呈現(xiàn)出民族化元素缺失的現(xiàn)象：造型西方化、內(nèi)涵現(xiàn)代化、民族精神淡化……一系列的改變使得民族動畫在失去民族特征的基礎(chǔ)上部分地被西方化了。在這種情況下，動畫民族化便成為動畫發(fā)展的必然趨勢。 我們必須找到解決問題的良策，從根本上提高中國動畫的民族化水平。其一，，應(yīng)深入學(xué)習(xí)中華民族傳統(tǒng)文化。傳統(tǒng)文化是我們中華民族賴以生存的精神食糧，也是本民族價值觀、人生觀、世界觀的積淀與延續(xù)。從文化層面來說，現(xiàn)代文化藝術(shù)形式比以往任何一段歷史時期都需要傳統(tǒng)文化的指引。只有理解中華文化的精神內(nèi)涵和追求，才能為文化藝術(shù)的創(chuàng)作提供不竭的動力源泉。同時，中國動畫也需要強大的民族精神作為指導(dǎo)，將民族精神貫穿于其中，使動畫由內(nèi)而外地散發(fā)出中華文化精神的魅力。其二，挖掘傳統(tǒng)題材并將民族傳統(tǒng)文化與現(xiàn)代動畫相結(jié)合也是改善動畫發(fā)展現(xiàn)狀的必要措施。民族元素與現(xiàn)代技術(shù)的結(jié)合能幫助中國動畫揚長避短，充分發(fā)揮傳統(tǒng)的藝術(shù)感召力并使民族動畫走向世界。其三，應(yīng)借鑒西方動畫的優(yōu)勢，增強民族動畫的核心內(nèi)涵。民族動畫作為精神領(lǐng)域的產(chǎn)品，要體現(xiàn)本民族的核心內(nèi)涵，在此基礎(chǔ)上廣泛吸取西方動畫的優(yōu)勢和發(fā)展經(jīng)驗?zāi)馨l(fā)揮“取其之長,補己之短”的良好效果。其四，中西合璧，兼顧多種需求。要想實現(xiàn)民族動畫的持續(xù)發(fā)展，就應(yīng)秉持中西合璧的態(tài)度，兼顧不同民族、地域的審美風(fēng)格需要，只有這樣才能在繼承和發(fā)揚的基礎(chǔ)上實現(xiàn)民族動畫的偉大復(fù)興。其五，加強民族動畫的創(chuàng)新意識。民族動畫需要在堅持民族化的基礎(chǔ)上不斷吸收現(xiàn)代創(chuàng)新意識進(jìn)行再創(chuàng)造，不斷以世界優(yōu)秀藝術(shù)成果和先進(jìn)觀念豐富自己，來獲得民族動畫的創(chuàng)新性提升。 動畫作為二十一世紀(jì)的朝陽產(chǎn)業(yè)代表著一個民族先進(jìn)創(chuàng)作理念的發(fā)展，也彰顯著民族特色的傳承與創(chuàng)新。現(xiàn)階段，民族化元素運用欠缺是我國動畫發(fā)展的主要問題之一，研究其動畫的發(fā)展現(xiàn)狀并對這一問題提出行之有效的解決方法，對于中國動畫民族化具有積極的促進(jìn)作用。
[Abstract]:Looking back on the development of Chinese animation, from the beginning of the twentieth century to the 1990s, the Chinese national animation has been established, flourished and gradually declined in the past 100 years. As one of the important parts of Chinese culture and art, ethnic animation has made great achievements in the prosperous period of its development. It not only represents the particularity of Chinese art form, but also runs through the spirit of Chinese traditional culture. National spirit, value orientation, moral quality and many other aspects of the cultural essence. In this respect, the early ethnic animation was brilliant because of its strong nationalization characteristics. However, since the 1990s, the national culture under the strong impact of foreign culture in the West appears to be weak, the scope of popularization gradually narrowed, gradually lost appreciation of the crowd. Because of this reason, the animation of this period gradually presents the phenomenon of lack of nationalized elements: westernization of modeling, modernization of connotation and desalination of national spirit. A series of changes make ethnic animation partly westernized on the basis of the loss of national characteristics. In this case, animation nationalization will become the inevitable trend of animation development. We must find a good solution to the problem, fundamentally improve the level of Chinese animation nationalization. First, we should study the traditional culture of the Chinese nation in depth. Traditional culture is the spiritual food for the survival of the Chinese nation. It is also the accumulation and continuation of our national values, outlook on life and world outlook. In terms of culture, modern cultural and artistic forms need the guidance of traditional culture more than any other historical period. Only by understanding the spiritual connotation and pursuit of Chinese culture can we provide an inexhaustible source of power for the creation of culture and art. At the same time, the Chinese animation also needs the strong national spirit as the instruction, runs through the national spirit, causes the animation to exude the charm of the Chinese cultural spirit from inside to outside. Secondly, it is necessary to explore traditional themes and combine traditional culture with modern animation. The combination of national elements and modern technology can help Chinese animation develop its strengths and circumvent its weaknesses, give full play to its traditional artistic appeal and make ethnic animation move to the world. Third, we should learn from the advantages of Western animation, enhance the core connotation of national animation. As a product of spiritual field, ethnic animation should embody the core connotation of our nation. On this basis, we can draw on the advantages and development experience of western animation extensively and give play to the good effect of "taking advantage of its advantages and complementing its own shortcomings". Fourth, the combination of Chinese and Western, taking into account a variety of needs. In order to realize the sustainable development of national animation, we should hold the attitude of combining Chinese and western characters, and take into account the aesthetic style needs of different nationalities and regions. Only in this way can we realize the great rejuvenation of national animation on the basis of inheritance and development. Fifth, strengthen the innovative consciousness of national animation. On the basis of persisting in nationalization, ethnic animation needs to absorb modern creative consciousness for re-creation and enrich itself with the world's outstanding artistic achievements and advanced concepts, in order to obtain the innovative promotion of national animation. Animation, as a sunrise industry in the 21 century, represents the development of a nation's advanced creative idea, and also highlights the inheritance and innovation of national characteristics. At present, the lack of the use of nationalized elements is one of the main problems in the development of animation in China. Studying the current situation of animation development and putting forward effective solutions to this problem will play an active role in promoting the nationalization of Chinese animation.
【學(xué)位授予單位】：山東工藝美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J954

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