【摘要】：數(shù)字媒體動(dòng)畫片是當(dāng)今非常流行的動(dòng)畫影片表現(xiàn)方式,依靠其獨(dú)特的虛擬現(xiàn)實(shí)表現(xiàn)方式,幾乎可以滿足制作者所需要表達(dá)的一切需求。無(wú)論是民族文化、民族藝術(shù)、民族歷史還是民俗風(fēng)情甚至神話傳說(shuō),借助數(shù)字媒體動(dòng)畫片都能做到聲情并茂的呈現(xiàn)。相比傳統(tǒng)的故事片、紀(jì)錄片所不同的是,數(shù)字媒體動(dòng)畫片除了能使觀眾獲得傳統(tǒng)的視聽(tīng)需求之外,還能利用其強(qiáng)大的虛擬現(xiàn)實(shí)技術(shù)展現(xiàn)出最原生態(tài)的人文景象,甚至是現(xiàn)實(shí)社會(huì)中并不存在或已經(jīng)消亡的歷史資料。使受眾人群獲得更加直觀的視聽(tīng)體驗(yàn)。這種表達(dá)方式可以做到對(duì)需要表現(xiàn)的事物的形態(tài)進(jìn)行原汁原味的還原,配以嚴(yán)謹(jǐn)?shù)膭”緲?gòu)架和設(shè)計(jì)資料可使其具有非常高的科學(xué)性和權(quán)威性。數(shù)字媒體動(dòng)畫片不但易于傳播,對(duì)于他人的創(chuàng)作與研究亦能提供良好的參考價(jià)值與借鑒意義。自信息時(shí)代來(lái)臨以后,數(shù)字影像作為一種視聽(tīng)語(yǔ)言帶來(lái)的沖擊力,更加符合當(dāng)今社會(huì)的傳播渠道及觀看需求,這在一定程度上拓寬了保護(hù)、傳承文化遺產(chǎn)的渠道。但數(shù)字媒體動(dòng)畫片在中國(guó)的發(fā)展略顯大材小用之勢(shì),究其主要原因有：中國(guó)對(duì)于數(shù)字媒體動(dòng)畫片的制作技術(shù)雖然精良,但所表現(xiàn)內(nèi)容的定位較低,多定位于少年兒童動(dòng)畫片的水平,所表達(dá)內(nèi)容偏向低齡化；具體則表現(xiàn)為選題角度及表現(xiàn)手法單一、創(chuàng)作理念落后,缺乏受眾分析等問(wèn)題。因此,本作品在結(jié)合了中外數(shù)字媒體動(dòng)畫片制作的一般規(guī)律的前提下,以世界“文化遺產(chǎn)”東巴文化為創(chuàng)作對(duì)象,對(duì)數(shù)字媒體動(dòng)畫片創(chuàng)作的題材選取、劇本創(chuàng)作、表現(xiàn)形式等方面進(jìn)行創(chuàng)新探索。通過(guò)制作數(shù)字媒體動(dòng)畫片《東巴傳說(shuō)一一浩劫與重生》的過(guò)程,深入研究了數(shù)字媒體動(dòng)畫片的創(chuàng)作模式,吸取并總結(jié)了中外數(shù)字媒體動(dòng)畫片創(chuàng)作的優(yōu)點(diǎn)與缺點(diǎn),并從前期準(zhǔn)備與主題確立、中期制作、后期合成等三大方面進(jìn)行詳細(xì)概述,對(duì)傳統(tǒng)動(dòng)畫片的題材選取予以創(chuàng)新,嘗試使數(shù)字媒體動(dòng)畫片打破低年齡段的定位,而向傳播文化方向邁進(jìn)一步。
[Abstract]:Digital media animation is a very popular expression mode of animation film nowadays. Depending on its unique virtual reality expression mode, it can almost meet all the needs of the producer. Whether it is national culture, national art, national history, folk customs or even myths and legends, with the help of digital media animation can achieve sound and emotional presentation. Unlike the traditional feature films, the documentary is different from the digital media animation, which not only enables the audience to obtain the traditional audiovisual demand, but also uses its powerful virtual reality technology to show the most original humanistic scene. Even historical materials that do not exist or have died out in real society. So that the audience to obtain a more intuitive audio-visual experience. This way of expression can restore the form of things that need to be expressed, and it can be highly scientific and authoritative with rigorous script structure and design materials. Digital media animation is not only easy to spread, but also can provide good reference value and significance for the creation and research of others. Since the advent of the information age, the impact of digital video as an audiovisual language is more in line with the communication channels and viewing needs of today's society, which to a certain extent broadens the channels for protecting and inheriting cultural heritage. However, the development of digital media animation in China shows the tendency of overcapacity. The main reasons are: although the technology of making digital media animation in China is excellent, the orientation of the content is relatively low. It is mainly located at the level of children's cartoon, and the content expressed is inclined to younger age; the specific performance is that the angle of selecting the topic and the method of expression are single, the creative idea is backward, and the audience analysis is lacking. Therefore, on the premise of combining the general rules of the Chinese and foreign digital media animation production, this work takes the Dongba culture of the world "cultural heritage" as the creation object, selects the subject matter of the digital media animation creation, and creates the script. Form of expression and other aspects of innovative exploration. Through the process of making digital media cartoon "Dongba Legend-disaster and Rebirth", this paper deeply studies the creation mode of digital media cartoon, and draws up and summarizes the advantages and disadvantages of the creation of digital media cartoon at home and abroad. And from the pre-preparation and theme establishment, mid-term production, post-synthesis of three major aspects of a detailed overview of the traditional animation theme selection to innovate, try to make digital animation break the low-age positioning, And a step forward in the direction of spreading culture.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J954

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