本文選題：全球化 + 動畫藝術(shù)��； 參考：《解放軍藝術(shù)學(xué)院學(xué)報》2016年03期

【摘要】：面對文化霸權(quán)國家"文化范本"的強大威力,我國很多動畫創(chuàng)作者一度失去文化獨創(chuàng)性,使國產(chǎn)動畫的"民族化"努力在很長一段時間幾乎停留在傳統(tǒng)樣式和藝術(shù)表現(xiàn)的形式上。中華傳統(tǒng)文化必然是國產(chǎn)動畫的立身之本,如果在市場中無法構(gòu)成文化產(chǎn)品獨特的有效差異性便會喪失核心競爭力。本文以《大圣歸來》為例進(jìn)行分析,認(rèn)為動畫作品只有立足于我國深厚的文化資源,以開拓創(chuàng)新精神在現(xiàn)代語境下探索屬于自己的藝術(shù)風(fēng)格,才能在全球文化市場中凸顯出中華民族獨特的東方品格,使廣大受眾在對我國傳統(tǒng)文化的感知中強化民族文化身份認(rèn)同。
[Abstract]:In the face of the powerful power of the cultural hegemonic "cultural model", many animation creators in China once lost their cultural originality. For a long time, the nationalization of domestic animation almost remained in the form of traditional style and artistic expression. Chinese traditional culture must be the foundation of domestic animation, if it can not constitute the unique and effective differences of cultural products in the market, it will lose its core competitiveness. Taking the return of the Great Sage as an example, this paper holds that animation works should only be based on the profound cultural resources of our country, and explore their own artistic style in the modern context of pioneering and innovative spirit. Only in the global cultural market can the unique oriental character of the Chinese nation be highlighted, which makes the broad audience strengthen the national cultural identity in the perception of our traditional culture.
【作者單位】： 暨南大學(xué)人文學(xué)院;
【基金】：2015年廣州市社會科學(xué)規(guī)劃課題項目(編號:15G20)階段性成果 2014年珠海社會科學(xué)規(guī)劃課題項目(編號:2014180)的階段性成果
【分類號】：J954

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本文編號：1933811