本文選題：動(dòng)畫 + 材質(zhì)�。� 參考：《大連工業(yè)大學(xué)》2014年碩士論文

【摘要】：動(dòng)畫作為一種大眾化藝術(shù)形式，從它誕生開始，娛樂性就成為了它的主要功能。動(dòng)畫藝術(shù)本身是一門綜合藝術(shù)。同時(shí)動(dòng)畫也是一門技術(shù)。在動(dòng)畫制作中包含了很多的制作的環(huán)節(jié)，比如角色造型、比如動(dòng)作設(shè)計(jì)、還有語言、美術(shù)設(shè)計(jì)和聲音。在今天動(dòng)畫變成一項(xiàng)專門的職業(yè)，這就要求動(dòng)畫師不僅僅是動(dòng)畫師，同時(shí)還必須擁有畫家，攝影家，音樂家，編劇作者，電影導(dǎo)演等綜合的技能。動(dòng)畫家外表也許其貌不揚(yáng)，甚至內(nèi)斂含蓄，但是他們一旦做起動(dòng)畫來就成了創(chuàng)造之神。在動(dòng)畫師的操作下，能夠制造出各種各樣奇思妙想的，形態(tài)百千的場(chǎng)景和角色。動(dòng)畫制作的靈魂，，就在于人物性格的塑造以及通篇的情感表達(dá)，以及動(dòng)畫視覺的直觀感受。然而人的第一感知，還是眼睛，所以如何能讓眼睛在第一時(shí)間內(nèi)被動(dòng)畫作品所吸引從而引起觀者的藝術(shù)感受，這就是所謂的審美效應(yīng)。 動(dòng)畫片這種藝術(shù)形式，它能滿足不同年齡層的人的需要，同樣動(dòng)畫片也并不只給是小朋友看的，同樣也適合給成年人看甚至是給老年人看的。只要制作者想做，無論哪種類型的人物和場(chǎng)景都是可以真實(shí)實(shí)現(xiàn)的。動(dòng)畫作為故事的一種載體。制作者把自己想表達(dá)的東西通過動(dòng)畫這種形式傳達(dá)給觀眾，能使觀者再看動(dòng)畫的時(shí)候能引起一些共鳴和感動(dòng)這就是動(dòng)畫的意義。動(dòng)畫作為電影的一種特殊類型，與常規(guī)電影的不同點(diǎn)在于動(dòng)畫的拍攝對(duì)象本身不是有生命的物體，而是用操行藝術(shù)手段制作的假定性形象。即美術(shù)范疇的形象。薩杜爾對(duì)動(dòng)畫片的解釋是：以面平面上的圖畫，或者立體的偶以及物品作為拍攝對(duì)象的電影。但是無論是哪種類型的動(dòng)畫敘述形式，都要有非常貼合的表現(xiàn)形式來突出主題。那么如何選用一種適合故事題材的材質(zhì)作為動(dòng)畫的媒介形式，就顯得尤為重要得多。選擇一種合適的材質(zhì)，在視覺和感覺甚至是想象的觸覺上都能夠最直接的輔助一部動(dòng)畫片去表達(dá)它的文化涵義和精神內(nèi)涵，能夠深刻地刻畫情感和人性。因?yàn)椴馁|(zhì)本身就有其自身固有的本體屬性，通過對(duì)這些屬性的采集與吸收，把這些屬性的優(yōu)勢(shì)利用到動(dòng)畫片的制作中來，便是這些屬性所帶來的直觀審美效應(yīng)。
[Abstract]:Animation as a popular art form, from its birth, entertainment has become its main function. Animation art itself is a comprehensive art. Animation is also a technology. Animation includes a lot of production links, such as role modeling, such as action design, as well as language, art design and sound. Today, animation becomes a specialized profession, which requires animators not only to be animators, but also to have the combined skills of painters, photographers, musicians, writers, film directors and so on. Animators may be ugly, even reserved, but once they animate, they become the gods of creation. Under the animator's operation, can create a variety of fantastic, various forms of scenes and characters. The soul of animation is the creation of character, the emotional expression of the whole text, and the visual intuitionistic feeling of animation. However, the first perception of the human being is the eye, so how can the eye be attracted by the animation in the first time to arouse the artistic feeling of the viewer? this is the so-called aesthetic effect. Animation this art form, it can meet the needs of people of different ages, the same animation is not only for children, but also for adults and even for the elderly. As long as the producer wants to do it, either type of character or scene can be realized. Animation as a carrier of the story. The producer conveys what he wants to express to the audience through the form of animation, which can cause some resonance and emotion when the viewer sees the animation again. This is the meaning of animation. Animation, as a special type of film, is different from conventional film in that the object of animation is not a living object, but a hypothetical image made by the means of practicing art. The image of art category. Sadr's interpretation of an animated film is a film that takes pictures on the plane, or stereoscopic figures and objects. However, no matter what kind of animation narrative form, there must be a very appropriate form of expression to highlight the theme. So how to choose a material suitable for the story as the media form of animation, it is particularly important. Choosing a suitable material can directly assist an animated film to express its cultural and spiritual connotations and depict emotion and human nature in the visual, sensory and even imaginary tactile sense. Because the material itself has its own inherent ontology attributes, through the collection and absorption of these attributes, the advantage of these attributes will be used in the production of animation, which is the intuitive aesthetic effect brought by these attributes.
【學(xué)位授予單位】：大連工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 張?jiān)?淺談動(dòng)畫片的聲音元素及創(chuàng)作手法[J];北京電影學(xué)院學(xué)報(bào);2001年02期

2 席田鹿,常虹;關(guān)于藝術(shù)性動(dòng)畫片的訪談[J];美苑;2002年02期

本文編號(hào)：2055136