本文選題：反派角色 + 影院動畫　； 參考：《鄭州輕工業(yè)學院》2014年碩士論文

【摘要】：影院動畫，是以電影院為傳播媒介的一種動畫類別，就其本質來說，和電影有著千絲萬縷的聯系，也有著區(qū)別于其他類別動畫的特點。如今，影院動畫以其高質量的制作要求，成為檢驗一個國家動畫水準的重要評價依據。動畫角色的塑造是一部影院動畫創(chuàng)作中的重要環(huán)節(jié)�；仡檮赢嬘捌l(fā)展的歷程，無數個生動的動畫形象給觀眾留下了深刻的印象。在這些性格鮮明的動畫形象中，反派角色也以其獨特的魅力活躍在動畫影片的舞臺上，具有不可忽視的重要作用。 觀眾在觀看動畫影片的時候往往會為英雄角色鼓掌喝彩，或許會認為反派角色只是為了配合英雄角色的表演而出現的配角。人們往往會在潛意識中贊美、敬佩智勇雙全、除暴安良的英雄角色，但這并不代表反派角色不具有審美價值。正如著名喜劇演員卓別林先生所說的那樣，，反派角色更具有可塑性和多樣性。面對動畫產業(yè)的發(fā)展，動畫影片的創(chuàng)作、研究不應只是局限于如何塑造出完美的英雄人物，如何塑造出具有審美價值而又深入人心的反派角色同樣值得研究、思考。 反派角色是影片中矛盾的制造者，他們大多行為表現乖張，敢于挑戰(zhàn)，是影片中矛盾的載體，是造成影片節(jié)奏的緊張感，以及超越的自由感，使影片情節(jié)達到矛盾對立中的動態(tài)平衡的重要角色，這樣的角色最能夠揭露社會本質，使觀眾的情緒能夠在情節(jié)中得到宣泄；影片的創(chuàng)作者可以借助反派角色表現人類思想上、精神上的矛盾性，揭露現實生活的本質，引導是非價值觀。近年來，隨著創(chuàng)作理念以及人們生活狀態(tài)、心理狀態(tài)以及審美取向的不斷變化，反派角色逐漸以其多樣化的面貌吸引著觀眾的眼光。 本文通過對美、日兩國的社會文化、民族性格、民俗文化、大眾審美訴求等因素進行比較，并以此為理論依據，進一步對美、日兩國影院動畫中塑造成功的反派角色在造型、色彩、動作、性格等設定方面的差異進行比較、分析，尋其異同而究其規(guī)律。最后，在研究分析的基礎上，反思中國影院動畫中反派角色塑造的不足，并對中國影院動畫中反派角色的塑造提出可行性建議。
[Abstract]:Cinema animation is a kind of animation that takes cinema as the medium of communication. In its essence, it is inextricably linked with the film and has the characteristics that are different from other kinds of animation. Nowadays, cinema animation, with its high-quality production requirements, has become an important evaluation basis to test the animation level of a country. The creation of animated characters is an important link in the animation creation of a cinema. Looking back on the development of animation film, countless vivid animation images left a deep impression on the audience. In these vivid animated images, the villain is also active on the stage of the animated film with its unique charm, which can not be ignored. The audience often applaud the hero when they watch the animated film. You might think that the villain is just a supporting role to match the hero's performance. People tend to subconsciously praise, admire both wise and brave, the role of a hero, but this does not mean that the villain has no aesthetic value. As the famous comedian Mr Chaplin put it, villains are more plastic and diverse. In the face of the development of animation industry, the research of animation film creation should not only be confined to how to create perfect hero, but also worth studying how to create a villain with aesthetic value and deep in the hearts of people. Thinking. Villain characters are the makers of contradictions in the film. Most of them behave perversely, dare to challenge, are the carriers of contradictions in the film, are the tension that causes the film's rhythm, and the sense of freedom to transcend. An important role in bringing the film's plot to a dynamic balance in contradiction and opposition, such a role can best expose the nature of society and allow the audience's emotions to be released in the plot; the creator of the film can express human thought with the aid of the villain. The contradiction of spirit reveals the essence of real life and guides non-values. In recent years, with the constant changes of creative ideas, people's living state, psychological state and aesthetic orientation, the villain characters have gradually attracted the eyes of the audience with their diverse features. By comparing factors such as national character, folk culture, popular aesthetic appeal and so on, and taking this as the theoretical basis, the author makes a further analysis of the successful villains in the animation of American and Japanese cinemas in modeling, color, and action. To compare and analyze the differences in character and other aspects, and to find out their similarities and differences. Finally, on the basis of the research and analysis, this paper reflects on the deficiency of the villain character shaping in the Chinese cinema animation, and puts forward some feasible suggestions for the villain character shaping in the Chinese cinema animation.
【學位授予單位】：鄭州輕工業(yè)學院
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

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本文編號：1995494