宮崎駿動畫電影美學(xué)研究
發(fā)布時(shí)間：2018-07-28 19:25
【摘要】：本論文主要對宮崎駿動畫電影，從動畫影視視聽語言以及動畫電影美學(xué)的角度作一次較為全面系統(tǒng)的整理和研究。 宮崎駿作為世界動畫電影大師，其作品已經(jīng)不僅僅局限于“娛樂”，賦予了作品厚重的思想主題和濃郁的人文色彩，將作品提升到了人文的高度。打破了人們對于動畫電影的固有認(rèn)識和動畫電影以兒童觀眾為主的傳統(tǒng)定位。宮崎駿動畫電影作品主題多樣、題材豐富，不論從故事構(gòu)建還是藝術(shù)創(chuàng)作上都非常出色。 本文以藝術(shù)學(xué)、影視美學(xué)以及敘事學(xué)為理論基礎(chǔ)，以宮崎駿的所有動畫電影作品為研究文本。首先，從影視語言的角度對宮崎駿動畫電影的畫面構(gòu)成進(jìn)行分析，在電腦動畫技術(shù)盛行的當(dāng)今，宮崎駿卻一直堅(jiān)持自己獨(dú)特的手繪創(chuàng)作風(fēng)格，在色彩的運(yùn)用上也形成了特有的宮式風(fēng)格，簡單的原色和鮮艷的混合色的運(yùn)用彌補(bǔ)了手繪創(chuàng)作色彩單調(diào)的不足；在構(gòu)圖的處理上，宮崎駿也恰到好處的運(yùn)用了各種景別進(jìn)行切換，特別是遠(yuǎn)景和全景式構(gòu)圖的使用，對于表達(dá)“人與自然”的主題、舒緩影片節(jié)奏方面發(fā)揮了重要作用。音樂作為視聽語言的重要構(gòu)成部分，對作品主題的表達(dá)發(fā)揮著重要作用，與久石讓的長期連貫性合作，使得宮崎駿動畫電影的音樂保持了風(fēng)格的延續(xù)性，本文將從簡約主義的音樂風(fēng)格和民族風(fēng)情的音樂使用角度對宮崎駿動畫電影的音樂進(jìn)行解讀。其次，從敘事學(xué)的角度對宮崎駿動畫電影的情節(jié)類型和人物設(shè)定進(jìn)行分析，也可以跟加深入的解讀其故事內(nèi)涵。最后，，美學(xué)意蘊(yùn)作為本文的一個(gè)重點(diǎn)闡述章節(jié)，將從宮崎駿動畫電影作品中自然滲透的日本民族獨(dú)特的美學(xué)品質(zhì)，傳統(tǒng)的神靈觀、自然觀和審美觀等方面進(jìn)行深入研究。
[Abstract]:In this paper, MiyazakiHayao animation film, from the perspective of animation audiovisual language and animation film aesthetics, a more comprehensive and systematic arrangement and research. As a world animation master, MiyazakiHayao's works have not only been confined to "entertainment", but also endowed the works with a heavy ideological theme and rich humanistic color, and promoted the works to the height of humanity. It breaks the traditional recognition of animation film and the traditional orientation that children audience is the main part of animation film. MiyazakiHayao animated films have various themes and rich themes, which are excellent in both story construction and artistic creation. Based on the theory of art, film and television aesthetics and narratology, this paper takes all MiyazakiHayao's animated films as the research text. First of all, from the perspective of film and television language to analyze the screen composition of MiyazakiHayao animated films, in the computer animation technology is prevalent today, MiyazakiHayao has always insisted on their own unique style of hand-drawn creation. In the use of color also formed a unique palace style, the use of simple primary colors and bright mixed colors to make up for the lack of monotonous hand-painted color; in the composition of the processing, MiyazakiHayao also makes good use of all kinds of scenes to switch, especially the use of vision and panoramic composition, which plays an important role in expressing the theme of "man and nature" and soothing the rhythm of the film. As an important component of audiovisual language, music plays an important role in the expression of the theme of the works. This paper interprets the music of MiyazakiHayao animation film from the perspective of minimalist music style and national customs. Secondly, from the perspective of narratology, this paper analyzes the plot types and character settings of MiyazakiHayao animated films, which can also be interpreted in depth. Finally, as an important chapter of this paper, aesthetic implication will be deeply studied from the aspects of the unique aesthetic quality of the Japanese nation, the traditional deity view, the natural view and the aesthetic concept, which are naturally infiltrated in the MiyazakiHayao animated films.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J954
[Abstract]:In this paper, MiyazakiHayao animation film, from the perspective of animation audiovisual language and animation film aesthetics, a more comprehensive and systematic arrangement and research. As a world animation master, MiyazakiHayao's works have not only been confined to "entertainment", but also endowed the works with a heavy ideological theme and rich humanistic color, and promoted the works to the height of humanity. It breaks the traditional recognition of animation film and the traditional orientation that children audience is the main part of animation film. MiyazakiHayao animated films have various themes and rich themes, which are excellent in both story construction and artistic creation. Based on the theory of art, film and television aesthetics and narratology, this paper takes all MiyazakiHayao's animated films as the research text. First of all, from the perspective of film and television language to analyze the screen composition of MiyazakiHayao animated films, in the computer animation technology is prevalent today, MiyazakiHayao has always insisted on their own unique style of hand-drawn creation. In the use of color also formed a unique palace style, the use of simple primary colors and bright mixed colors to make up for the lack of monotonous hand-painted color; in the composition of the processing, MiyazakiHayao also makes good use of all kinds of scenes to switch, especially the use of vision and panoramic composition, which plays an important role in expressing the theme of "man and nature" and soothing the rhythm of the film. As an important component of audiovisual language, music plays an important role in the expression of the theme of the works. This paper interprets the music of MiyazakiHayao animation film from the perspective of minimalist music style and national customs. Secondly, from the perspective of narratology, this paper analyzes the plot types and character settings of MiyazakiHayao animated films, which can also be interpreted in depth. Finally, as an important chapter of this paper, aesthetic implication will be deeply studied from the aspects of the unique aesthetic quality of the Japanese nation, the traditional deity view, the natural view and the aesthetic concept, which are naturally infiltrated in the MiyazakiHayao animated films.
【學(xué)位授予單位】：河北大學(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)】
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