發(fā)布時間：2018-11-11 19:59

【摘要】：上海美術(shù)電影制片廠作為中國最重要的動畫電影制作基地，在上世紀(jì)享譽全球，拍攝的作品有48部在國內(nèi)獲獎69次，有45部在國際獲獎73次。拋下技術(shù)和市場層面不談，上海美術(shù)電影制片廠的作品成功之處主要是題材選擇方面以民俗文化為主。該廠在1958年拍攝完成了第一部剪紙動畫片《豬八戒吃西瓜》，1960年完成第一部水墨動畫片《小蝌蚪找媽媽》，當(dāng)年，又完成推出了第一部折紙片《聰明的鴨子》。從這諸多的第一個我們可以看出，上海美術(shù)電影制片廠的選材大多來源于中國最具特色的民俗文化，如剪紙、皮影戲、水墨畫等等，這些題材的選擇既可以滿足國內(nèi)觀眾對于民俗文化的認(rèn)同，又使全球觀眾有機會觀賞到中國的民俗文化，因此，這些作品獲得廣泛贊譽就不足為奇了。 本文就動畫影像與民俗文化的統(tǒng)一性作為研究對象，對動畫與民俗文化相結(jié)合的歷史根源、現(xiàn)狀以及困難和出路進(jìn)行深入探索。第一章是緒論部分，主要分析說明了該論文的選題背景和研究概況。第二章開始，重點在于研究民俗文化的特征，即神秘性、傳說性、圖騰性和傳統(tǒng)性四方面，并通過《葫蘆娃》作為案例進(jìn)行深入研究。第三章主要是對動畫影像的民俗文化進(jìn)行剖析，，包括動畫影像從皮影戲、剪紙和漢畫像中繼承的動畫元素；動畫影像的民俗文化因素，即本土文化內(nèi)涵和民俗文化價值；動畫影像民俗文化形成的原因（民族文化的影響，民風(fēng)民俗的熏陶，民族性格的滲透以及地域條件的差異）。第四部分包括分析民族文化在動畫中的窘境，例如將民俗文化曲解化或狹義化，動畫作品中往往照搬外國動畫的原型等等。以及解決這些問題的建議，例如從民俗的角度進(jìn)行提升和改進(jìn)，靈活的應(yīng)用動畫中的民俗性，民俗性在動畫中要達(dá)到內(nèi)外兼修等等。最后一章是對本文的總結(jié)。
[Abstract]:As the most important animation production base in China, Shanghai Fine Arts Film Studio has gained worldwide fame in the last century, with 48 films winning 69 awards in China and 45 winning 73 international awards. Leaving aside the technical and market aspects, the main success of the works of Shanghai Fine Arts Film Studio is the folklore culture. In 1958, the factory completed the first paper-cut cartoon "Zhu Bajie eat Watermelon", in 1960 completed the first water and ink cartoon "Little tadpole looking for Mother", then, completed the production of the first origami film "Smart Duck". From the first of these many, we can see that most of the materials selected by the Shanghai Fine Arts Film Studio come from the most distinctive folk culture in China, such as paper-cut, shadow play, ink painting, and so on. The choice of these subjects can not only satisfy the domestic audience's recognition of the folk culture, but also give the global audience the opportunity to enjoy the Chinese folk culture. Therefore, it is not surprising that these works have won wide acclaim. In this paper, the unity of animation image and folk culture as the object of study, the combination of animation and folk culture of the historical root, the current situation, difficulties and ways out for in-depth exploration. The first chapter is the introduction, which mainly explains the background and research situation of this thesis. The second chapter focuses on the characteristics of folk culture, namely mystery, legend, totem and tradition. The third chapter mainly analyzes the folk culture of animation image, including the animation elements inherited from shadow play, paper-cut and Han portrait, the folk culture factor of animation image, that is, the connotation of native culture and the value of folk culture. The reasons for the formation of folk culture in animation image (the influence of national culture, the influence of folk custom, the infiltration of national character and the difference of regional conditions). The fourth part includes the analysis of the dilemma of national culture in animation, such as the distortion of folk culture or narrow sense, animation works often copy the archetype of foreign animation and so on. And the solutions to these problems, such as from the perspective of the promotion and improvement of folklore, flexible application of animation in the folklore, folklore in animation to achieve both internal and external repair, and so on. The last chapter is the summary of this paper.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J954;K892

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 楊云峰;;戲劇情境解說[J];戲劇之家;2002年01期

本文編號：2325970