本文選題：動(dòng)畫形象 + 符號(hào)學(xué)��； 參考：《武漢紡織大學(xué)》2014年碩士論文

【摘要】：時(shí)代的進(jìn)步與文化的發(fā)展變遷，賦予了動(dòng)畫形象新的內(nèi)涵和外延。動(dòng)畫形象早已不是簡單的供人娛樂的對(duì)像。一個(gè)足夠吸引人的動(dòng)畫形象，能夠產(chǎn)生巨大的經(jīng)濟(jì)價(jià)值，而動(dòng)畫形象背后的符號(hào)文化意義，對(duì)于研究一個(gè)地域的文化背景又提供了重要的信息參考價(jià)值，它不但折射了角色的性格特征，而且折射出民族的審美文化，科技的發(fā)展進(jìn)步等。技術(shù)和文化的發(fā)展給予了動(dòng)畫形象空前的展示舞臺(tái)，無論在表現(xiàn)力和傳播方式上都有了巨大的突破。新時(shí)代下的動(dòng)畫形象帶來的新特征、新運(yùn)用更是極大的影響了人們的審美觀以及價(jià)值觀。本文從動(dòng)畫形象的文化角度和符號(hào)特征為突破口，以符號(hào)學(xué)理論為研究媒介，對(duì)動(dòng)畫形象進(jìn)行深入的剖析，從而挖掘動(dòng)畫文化的深層結(jié)構(gòu)以及動(dòng)畫符號(hào)的審美意義。 本文在前人研究成果的基礎(chǔ)上，，按照歷史發(fā)展的脈絡(luò)，縱向的梳理了動(dòng)畫形象在不同時(shí)期的不同發(fā)展特點(diǎn)。運(yùn)用符號(hào)學(xué)理論，橫向比較了不同國家不同地域文化對(duì)于動(dòng)畫形象的影響。著重分析了在新的“讀圖時(shí)代”語境下動(dòng)畫形象的發(fā)展特點(diǎn)，傳播方式以及遇到的問題。文章第一部分對(duì)本課題研究的背景意義以及國內(nèi)外研究狀況進(jìn)行了陳述。第二部分對(duì)動(dòng)畫的起源和發(fā)展進(jìn)行了歷史性的梳理。第三部分介紹了符號(hào)學(xué)理論的特征，是本文的理論研究手段。第四部分以符號(hào)學(xué)理論為研究手段通過不同國家的動(dòng)畫形象為實(shí)例，例證符號(hào)學(xué)在動(dòng)畫創(chuàng)作用的運(yùn)用與發(fā)展。第五部分通過大量例證來講解動(dòng)畫形象的符號(hào)意義是如何產(chǎn)生和傳播的，闡述了動(dòng)畫形象的審美特征與審美趣味。第六部分對(duì)于我國動(dòng)畫形象發(fā)展中所遇到的問題提出了一些個(gè)人的思考與建議。
[Abstract]:The progress of the times and the development and change of culture endow the animation image with new connotation and extension. Animation is no longer a simple entertainment object. A sufficiently attractive animation image can produce enormous economic value, and the symbolic cultural significance behind the animation image provides an important information reference value for the study of the cultural background of a region. It not only reflects the character of the character, but also reflects the national aesthetic culture, the development and progress of science and technology. The development of technology and culture gives the animation image an unprecedented display stage, no matter in the expression and the way of communication has made a huge breakthrough. The new features brought by animation images in the new era have greatly influenced people's aesthetic standards and values. In this paper, from the perspective of animation culture and symbolic characteristics as a breakthrough, with the semiotics theory as the research medium, the animation image in-depth analysis, so as to excavate the deep structure of animation culture and the aesthetic significance of animation symbols. On the basis of the previous research results, according to the historical development, this paper combs the different development characteristics of animation images in different periods. By using semiotics theory, this paper compares the influence of different regional culture on animation image in different countries. This paper mainly analyzes the development characteristics, communication methods and problems of animation images in the context of the new "Reading Picture Age". In the first part, the background significance of the research and the research situation at home and abroad are stated. The second part of the animation of the origin and development of a historical comb. The third part introduces the characteristics of semiotics theory, which is the theoretical means of this paper. The fourth part exemplifies the application and development of semiotics in animation creation by taking the theory of semiotics as an example through the animation images of different countries. The fifth part explains how the symbolic meaning of animation image is produced and spread through a large number of examples, and expounds the aesthetic characteristics and aesthetic taste of animation image. The sixth part puts forward some personal thoughts and suggestions on the problems encountered in the development of animation image in China.
【學(xué)位授予單位】：武漢紡織大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954

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本文編號(hào)：1810147