發(fā)布時間：2018-06-10 07:46

  本文選題：美國動畫電影 + 文學(xué)延伸�。� 參考：《山東理工大學(xué)》2014年碩士論文

【摘要】：生態(tài)危機(jī)蔓延全球的背景下,興起于二十世紀(jì)七十年代的生態(tài)主義思潮深刻影響和改變著人類的生存觀念,以生態(tài)系統(tǒng)的整體利益權(quán)衡人類的發(fā)展選擇得到越來越廣泛的支持。兼具藝術(shù)和商業(yè)屬性的美國動畫電影,其卡通化表達(dá)的藝術(shù)特色及動物參與敘事的傳統(tǒng)形成了當(dāng)下生態(tài)主義在動畫電影中傳播的特殊優(yōu)勢。從文學(xué)和媒介交互發(fā)展的角度來看,以故事為核心的動畫電影是文學(xué)在當(dāng)下的重要延伸�；谛率兰o(jì)美國動畫電影敘事中傳達(dá)出的豐厚生態(tài)意蘊(yùn)及美國動畫電影在全球傳播中形成的龐大受眾群體,對美國動畫電影中生態(tài)敘事做專門研究對文學(xué)生態(tài)敘事的影像化表達(dá)和全球生態(tài)主義建設(shè)都具有重要意義。 從生產(chǎn)過程來看,動畫電影在傳播生態(tài)主義方面比傳統(tǒng)電影更具說服力。單從對環(huán)境的破壞和動物的危害來看,動畫電影就有不言自明的生態(tài)敘事優(yōu)勢。較之傳統(tǒng)文學(xué)的文字藝術(shù),動畫電影簡潔的影像敘事方式降低了受眾接受的經(jīng)驗和教育門檻。新世紀(jì)美國動畫電影的主題表達(dá)著對永恒的人類情感價值的追求,對環(huán)境保護(hù)意識的強(qiáng)調(diào)和對有機(jī)多重生態(tài)關(guān)系的探索。其敘事的基本結(jié)構(gòu)即平衡——失衡——新平衡建立的線性結(jié)構(gòu),注重失衡后對新平衡的建立并折射對現(xiàn)實發(fā)展的憂慮。在敘事策略上,取材于世界的美國動畫電影注重全球化與本土化敘事的結(jié)合,并通過多視角敘事和異質(zhì)時空的建構(gòu)引發(fā)受眾對其他生命共同體的深層認(rèn)同。 動畫電影的受眾是社會性的群體,其認(rèn)知和行為受到倫理的深刻影響和制約。倫理拓展是是一個必然過程,同時也是歷史性的過程。動畫電影與動物、自然淵源深遠(yuǎn),作為深受生態(tài)主義思潮影響的文化產(chǎn)品,新世紀(jì)美國動畫電影在敘事中注重對生態(tài)倫理拓展的表現(xiàn),從不同的側(cè)重角度綜合引發(fā)受眾對社會倫理、環(huán)境倫理和宗教倫理的深層思考。新世紀(jì)以來,美國優(yōu)秀的動畫電影塑造了許多風(fēng)靡全球的動畫明星,這些老幼皆知的角色在傳播中拓展了動畫電影的接受范圍,其中在成人受眾中的擴(kuò)展是十分矚目的。這樣的傳播特點為美國動畫電影在全球范圍內(nèi)形成廣泛的生態(tài)主義“培養(yǎng)”提供了可能性。
[Abstract]:Under the background of ecological crisis spreading all over the world, the trend of thought of ecologism, which rose in the 1970s, has deeply influenced and changed the concept of human existence, and weighed the development choice of human beings with the overall interests of the ecosystem to get more and more extensive support. American animated film with both artistic and commercial attributes, its artistic features expressed by Cartonghua and the tradition of animal participation in narration form the special advantage of the current ecologism in the spread of animation film. From the point of view of the interactive development of literature and media, the animated film with story as the core is an important extension of literature at present. Based on the rich ecological implication conveyed in the narration of American animated films in the new century and the huge audiences formed in the global dissemination of American animated films, The study of ecological narration in American animated films is of great significance to the image expression of literary ecological narration and the construction of global ecologicalism. Animated films are more persuasive than traditional films in spreading ecologism. Only from the damage to the environment and the harm of animals, animation film has a self-evident ecological narrative advantages. Compared with the traditional literature, the concise image narration of animation film reduces the experience and educational threshold of the audience. The theme of American animated films in the new century expresses the pursuit of eternal human emotional value, the emphasis on environmental protection consciousness and the exploration of organic and multi-ecological relations. The basic structure of its narrative is the linear structure of the equilibrium-imbalance-new equilibrium. It pays attention to the establishment of the new equilibrium after the imbalance and reflects the worry about the development of reality. In terms of narrative strategy, American animated films, which are drawn from the world, pay attention to the combination of globalization and local narration. The audience is a social group whose cognition and behavior are deeply influenced and restricted by ethics. Ethics development is an inevitable process, but also a historical process. Animation film and animal, natural origin is profound, as a cultural product deeply influenced by the trend of ecologicalism, American animation film in the new century pays attention to the expression of expanding ecological ethics in narration. It causes the audience to think deeply about social ethics, environmental ethics and religious ethics from different point of view. Since the new century, American excellent animation films have created many famous animation stars all over the world. These well-known characters have expanded the acceptance range of animation movies in the communication, and the expansion in adult audiences is very noticeable. Such a spreading feature provides the possibility for American animated films to form a wide range of ecologism around the world.
【學(xué)位授予單位】：山東理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 孫慰川;丁磊;;論美國皮克斯動畫電影的現(xiàn)代化敘事策略[J];北京電影學(xué)院學(xué)報;2009年03期

2 王諾;“生態(tài)整體主義”辯[J];讀書;2004年02期

3 李玫;;迪斯尼動畫片中的生態(tài)敘事——從《小鹿斑比》到《海底總動員》再到《熊的傳說》[J];電影文學(xué);2005年04期

4 鮑玉珩;常潤芳;;當(dāng)代迪斯尼和美國好萊塢動畫:1980—2008[J];電影評介;2009年07期

5 杰森·施瑞爾;鮑玉珩;鐘大豐;;迪斯尼動畫電影劇本寫作——從構(gòu)思到最后完成的過程:訣竅與技巧[J];電影評介;2009年12期

6 李雪霞;;淺談當(dāng)代電影中的生態(tài)學(xué)觀念[J];電影評介;2010年08期

7 杜·伏科蒂克 ,楚漢 ,汪海 ,諶三;動畫電影劇作[J];世界電影;1987年06期

8 曾繁仁;;生態(tài)文明時代我們應(yīng)有的文化態(tài)度[J];徐州工程學(xué)院學(xué)報(社會科學(xué)版);2012年04期

9 吳迪;吳詩晴;;美國環(huán)保動畫電影的內(nèi)容與反思[J];書屋;2010年04期

10 朱寶榮;動物形象:小說研究中不應(yīng)忽視的一隅[J];文藝?yán)碚撆c批評;2005年01期

相關(guān)博士學(xué)位論文 前1條

1 程雯慧;動畫的影像敘事研究[D];武漢理工大學(xué);2011年

，

本文編號：2002486