本文選題：分鏡頭 + 動畫��； 參考：《昆明理工大學(xué)》2014年碩士論文

【摘要】：一部優(yōu)秀的動畫作品的產(chǎn)生離不開很多因素的支撐,比如好的劇本、好的人設(shè)、場設(shè)、熟練地剪輯和特效的制作、優(yōu)秀的配音和分鏡頭腳本的設(shè)計。在一部動畫劇本創(chuàng)作完成之后,導(dǎo)演就會開始著手分鏡頭腳本的設(shè)計,分鏡頭腳本的設(shè)計會直接影響和制約著后面其他因素的發(fā)展。分鏡頭腳本是動畫劇本的圖畫式語言的表達方式,簡單地說,就是運用圖片的方法講述劇本故事,直接把劇本鏡頭形象化。它是動畫里可以直接傳達導(dǎo)演意圖和劇本拍攝構(gòu)思的一種語言,人物、場景的設(shè)計、逐幀的制作、后期的剪輯、配音等工作都是根據(jù)分鏡頭腳本來的。因此,我們可以稱分鏡頭腳本為動畫作品的預(yù)設(shè)和藍本,它在動畫作品的創(chuàng)作中扮演著重要的位置。而創(chuàng)作一個優(yōu)秀的動畫分鏡頭腳本需要理解分鏡頭作為動畫視聽語言背后的語義、文化溯源、創(chuàng)作法則、內(nèi)在邏輯等多方面的內(nèi)容。因此,本文從分鏡頭腳本與動畫創(chuàng)作之間的關(guān)系入手,對其表達方式、民族審美需求、創(chuàng)作技法進行一一論述。 首先,本文對動畫分鏡頭語言的文化溯源進行了歸納和總結(jié)。在研究分鏡頭腳本時,筆者發(fā)現(xiàn)分鏡頭語言特點與其所處在的地域文化形態(tài)有著很大的關(guān)系。不同國家的分鏡頭腳本語言呈現(xiàn)出不同的風(fēng)格特點,它們受到所處的社會環(huán)境、風(fēng)俗習(xí)慣、審美傾向的影響。換個角度來說,不同地區(qū)的分鏡頭語言可以體現(xiàn)出當?shù)氐奈幕菰�。例�?中國動畫在上個世紀八十年代時,創(chuàng)立了輝煌的“中國學(xué)派”,創(chuàng)作出一批優(yōu)秀的藝術(shù)動畫片,其分鏡頭語言也體現(xiàn)著中國傳統(tǒng)繪畫中寫意的特點和中國人含蓄的審美傾向。然而現(xiàn)在,中國的動畫開始走下坡路,分鏡頭語言也開始“失語”,逐漸喪失了中國本土特色,大量抄襲外國動畫的鏡頭語言,失去了自己的特點。本文通過對比不同國家的鏡頭語言和其背后的文化特征之間的關(guān)系,試圖幫助中國動畫找回自己的鏡頭語言。其次,本文對動畫分鏡頭腳本的創(chuàng)作技法和鏡頭內(nèi)在邏輯進行了詳細的說明。動畫是一種具有高度假定性和自由的文化傳播方式,其分鏡頭的設(shè)計所受到的現(xiàn)實制約比電影少。但是,動畫分鏡頭腳本的創(chuàng)作還是要遵循視聽語言的客觀規(guī)律。其表現(xiàn)手法、創(chuàng)作技法、畫面邏輯、軸線和蒙太奇的運用都有一定的法則,這些法則會在文中一一闡述。筆者認為,只有既遵守了這些創(chuàng)作法則,又充分發(fā)揮了主觀想象力進行創(chuàng)新,才可以創(chuàng)作出好的分鏡頭腳本。 最后,本文將對分鏡頭語言的未來走向提出展望,分鏡頭語言特點將隨著科技的進步、社會的發(fā)展、文化形態(tài)的衍變、和人類審美傾向的改變而發(fā)生變化。而這種變化是良性的,將會推動分鏡頭的發(fā)展,從而推動動畫產(chǎn)業(yè)的進步。
[Abstract]:The production of an excellent animation works can not be separated from the support of many factors, such as good script, good human settings, field settings, skilled editing and special effects production, excellent dubbing and sub-lens script design. After the completion of an animated script, the director will begin to design the shot script, which will directly affect and restrict the development of other factors. Split shot script is the expression of graphic language of animated script. In short, it is to tell the story of the script by using the method of picture, and directly visualize the scene of the script. It is a kind of language which can convey the director's intention and the script shooting idea directly in the animation, the character, the scene design, the frame by frame production, the post editing, the dubbing work and so on are all according to the sub-lens script. Therefore, we can call sub-shot script the presupposition and blueprint of animation works, which plays an important role in the creation of animation works. The creation of an excellent animation sub-shot script needs to understand the semantic, cultural traceability, creative rules, internal logic and so on behind the sub-lens as the language of animation audiovisual. Therefore, this paper starts with the relationship between the script and animation creation, discusses its expression, national aesthetic needs and creative techniques one by one. Firstly, this paper summarizes the cultural origin of the language of animation sub-lens. In the study of the script, the author found that the language characteristics of the sub-lens has a great relationship with the regional cultural form in which it is located. Different countries have different stylistic features, which are influenced by their social environment, customs and aesthetic tendency. In other words, the local culture can be traced to the different parts of the language. For example, in the eighties of the last century, Chinese animation created a brilliant "Chinese school," and created a number of excellent artistic cartoons. It also reflects the characteristics of freehand brushwork in traditional Chinese painting and the implicit aesthetic tendency of Chinese people. However, now, the animation of China begins to decline, the language of dividing lens also begins to "aphasia", gradually lost the Chinese native characteristic, plagiarizes the foreign animation lens language, has lost its own characteristic. This paper attempts to help Chinese animation find its own lens language by comparing the relationship between the lens language of different countries and the cultural characteristics behind it. Secondly, this paper gives a detailed description of the creative techniques and the internal logic of the animation shot script. Animation is a highly hypothetical and free way of cultural communication. However, the creation of animation script should follow the objective law of audiovisual language. The methods of expression, creative techniques, picture logic, axis and montage use have certain rules, which will be elaborated in the article. The author thinks that only if we abide by these creative rules and make full use of subjective imagination to innovate, we can create good sub-shot script. Finally, this paper will put forward the prospect of the future direction of the sub-lens language. The features of language will change with the progress of science and technology, the development of society, the evolution of cultural form, and the change of human aesthetic tendency. This change is benign, will promote the development of the camera, thus promoting the progress of the animation industry.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J954

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本文編號：1984030