本文選題：動畫電影 + 敘事　； 參考：《復(fù)旦大學(xué)》2013年博士論文

【摘要】：本論文的重點是中美動畫電影在敘事方面的差異。敘事屬于藝術(shù)范疇,市場屬于經(jīng)濟范疇,但在動畫電影的消費市場上,敘事和市場卻十分緊密地聯(lián)系在一起。在具體的論述中,本論文主要探討了以下問題：前言部分主要梳理了中國動畫電影的發(fā)展現(xiàn)狀、中外動畫電影相關(guān)研究現(xiàn)狀及理論要點,指出了該研究的現(xiàn)實意義和理論意義以及嘗試解決的主要問題,使用的主要研究方法。第一章主要論述動畫電影語言,區(qū)分了動畫電影和真人電影之間的本質(zhì)差異。認為動畫電影徹底擺脫了真人電影時間、空間、外在形象的限制,藝術(shù)家可以在自己的想象王國里縱橫馳騁,動畫電影成為視覺藝術(shù)表達最為自由和科技含量最高的語言。借助于動畫電影基本的語言要素：材料、時空、色彩、節(jié)奏,進行擬人化和夸張化的表現(xiàn),各國的動畫電影形成各具特色的風(fēng)格。第二章主要分析中美動畫電影在題材來源和母題上差異。認為盡管我國文化資源豐富,但是中國動畫電影對文化資源的使用卻有很大的局限。在國際動畫電影市場中,依然是高級生產(chǎn)要素決定低級生產(chǎn)要素。中美動畫電影題材和母題的差異說明,方面盡管中國傳統(tǒng)文化資源豐富,但在動畫電影的題材和母題選擇上十分單調(diào)和保守；另一方面,好的題材也需要創(chuàng)造性的表現(xiàn)手法,需要與當(dāng)下的審美趣味相契合。第三章主要分析中美動畫電影的角色差異,以及差異產(chǎn)生的原因。認為美國動畫角色造型夸張、簡潔,有趣滑稽；中國動畫角色有著很強的裝飾美感,多來源于中國傳統(tǒng)藝術(shù),如古代壁畫、繪畫、京劇、民間藝術(shù)等。從動畫電影角色的性格來看,美國動畫電影中的英雄人物都是圓形人物,而中國則多扁平型人物。第四章主要分析中美動畫電影在敘事結(jié)構(gòu)上的差異,闡述中美動畫電影敘事結(jié)構(gòu)的“變”與“不變”,探討“變”與“不變”的啟示意義。認為美國動畫電影敘事結(jié)構(gòu)存在“平衡——再平衡”模式；中國動畫電影則延續(xù)了二元對立式傳統(tǒng)戲劇結(jié)構(gòu)。相較而言,美國動畫電影是對程式化敘事結(jié)構(gòu)表現(xiàn)方式創(chuàng)新的先行者,中國動畫電影在敘事結(jié)構(gòu)的創(chuàng)新和表現(xiàn)方式的創(chuàng)新上,顯得創(chuàng)新性不足。第五章主要分析動畫電影敘事與技術(shù)之間的關(guān)系。技術(shù)的產(chǎn)生是為了滿足人類的需求,但反過來也創(chuàng)造需求。當(dāng)前,技術(shù)已經(jīng)帶來了動畫電影美學(xué)風(fēng)格和敘事方式的變革。敘事的變革主要表現(xiàn)在角色的創(chuàng)新、主題的創(chuàng)新以及豐富了動畫電影的視聽語言；美學(xué)風(fēng)格的創(chuàng)新主要是動畫電影創(chuàng)造了“后現(xiàn)代視覺奇觀”。結(jié)語主要從題材、母題、角色、結(jié)構(gòu)、技術(shù)等角度總結(jié)了中國動畫電影的敘事特征與尋求突破的方向。
[Abstract]:This thesis focuses on the narrative differences between Chinese and American animated films. Narrative belongs to the category of art and the market belongs to the category of economy, but in the consumer market of animated film, narrative and market are closely linked. In the specific discussion, this paper mainly discusses the following problems: the foreword mainly combs the development status of Chinese animation film, the related research status and the main points of theory of Chinese and foreign animation film. The paper points out the practical and theoretical significance of the study, the main problems and the main research methods used. The first chapter mainly discusses the language of animated film, and distinguishes the essential difference between animated film and real action film. It is considered that animation film has completely got rid of the limitation of time, space and external image of real man film, and artists can roam in their imagination kingdom, and animation film has become the language with the freest expression and the highest science and technology content in visual art. With the help of the basic language elements of animation film: material, time and space, color, rhythm, personification and exaggeration, the animation films of various countries form their own distinctive styles. The second chapter mainly analyzes the differences between Chinese and American animated films in terms of source of subject matter and motif. Though China is rich in cultural resources, the use of cultural resources by Chinese animated films is very limited. In the international animation film market, it is still the high production factors that determine the lower production factors. The differences between the themes and motifs of Chinese and American animated films show that, despite the abundance of traditional Chinese cultural resources, the choice of subjects and motifs of animated films is very monotonous and conservative; on the other hand, good subjects also require creative techniques of expression. Need to fit with the aesthetic taste of the present. The third chapter mainly analyzes the role differences between Chinese and American animated films and the causes of the differences. The author thinks that the American animated characters are hyperbole, concise and funny, and the Chinese animated characters have a strong decorative aesthetic feeling, mostly from the traditional Chinese art, such as ancient murals, paintings, Beijing opera, folk art and so on. According to the character of animated movie characters, the heroes in American animation films are round characters, while in China they are more flat characters. The fourth chapter mainly analyzes the differences in narrative structure between Chinese and American animated films, expounds the "change" and "invariance" of the narrative structure of Chinese and American animated films, and probes into the enlightening significance of "change" and "invariance". The author thinks that the narrative structure of American animation film has the pattern of "balance-rebalance", while the Chinese animation film continues the dual-opposites traditional drama structure. In contrast, the American animation film is the pioneer of the innovation of the stylized narrative structure, but the Chinese animation film is deficient in the innovation of the narrative structure and the way of expression. The fifth chapter mainly analyzes the relationship between narrative and technology in animated films. Technology is created to meet human needs, but in turn creates needs. At present, the technology has already brought the animation movie esthetics style and the narrative way transformation. The innovation of narrative is mainly reflected in the innovation of characters, the innovation of themes and the enrichment of audio-visual language of animated films, while the innovation of aesthetic style is mainly the creation of "postmodern visual wonders" by animated films. The conclusion summarizes the narrative characteristics of Chinese animated films and the direction of breakthrough from the perspectives of subject matter, motif, role, structure, technology and so on.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：J954

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相關(guān)期刊論文 前10條

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