【摘要】：如今,日本最廣為人知且深受好評的藝術(shù)形式便是動畫。大正時代開始,一代巨匠手冢治蟲再到如今的宮崎駿,他們的作品享譽世界。2013年,宮崎駿導(dǎo)演正式發(fā)表引退聲明,不再制作長篇動畫電影。至此,日本動畫界開啟了新篇章。同時,此舉也引發(fā)了無數(shù)人對于日本新生代動畫導(dǎo)演的關(guān)心。其中,細(xì)田守和新海誠被媒體認(rèn)為是最值得期待的"宮崎駿接班人"。細(xì)田守作品主要是以身邊的人和事為題材的王道娛樂動畫電影,引起不同年齡層的看者共鳴。另一位新海誠是首位以獨立動畫制片人身份躋身前列。作品主要以遠(yuǎn)距離戀愛為主題,故事中精致的美術(shù)背景和少年少女細(xì)膩的心理描寫廣受好評。兩位導(dǎo)演在競爭激烈的日本動畫電影行業(yè),能夠堅持自我,推陳出新,不斷發(fā)布新的作品,實屬不易。兩位導(dǎo)演的作品盡管看上去大相徑庭,但又有相同之處。然而,國內(nèi)對于日本新生代動畫導(dǎo)演的研究并不多,這兩位導(dǎo)演的作品比較研究更是屈指可數(shù)。本文擬針對兩位導(dǎo)演的04年至15年的八部作品,根據(jù)中日先行研究的資料,進行比較。首先闡述了為何兩位導(dǎo)演被稱為"宮崎駿接班人"。之后從作品的共同點與不同點出發(fā),開始著重討論兩位導(dǎo)演作品中的共同點,包括原創(chuàng)性,人文主義,暗喻手法,傳統(tǒng)文化。第二章將以個案分析的方法,分別指出兩位導(dǎo)演在作品中的不同點,包括成長表現(xiàn),主題選擇以及技術(shù)形式。從中,我們可以了解一些日本動畫電影的制作模式和表現(xiàn)手法。第三章闡述兩位導(dǎo)演的電影哲學(xué)思想。希望可以為中國動畫制作行業(yè)的發(fā)展提供一定程度上的參考。
[Abstract]:Today, the most well-known and well-received art form in Japan is animation. At the beginning of the Dazheng era, a generation of giant craftsmen to cure insects to MiyazakiHayao, their works are world-renowned. In 2013, director MiyazakiHayao officially issued a withdrawal statement, no longer making long animated films. So far, the Japanese animation industry has opened a new chapter. At the same time, the move has also aroused the concern of countless people for the new generation of Japanese animation directors. Among them, Oda Shou and Xin Haicheng are regarded by the media as the most worthy of looking forward to the "MiyazakiHayao replacement." Oda Shou's works are mainly based on the people and things around him, which resonates with viewers of different ages. Another Xinhaicheng is the first to be in the forefront as an independent animation producer. The main theme of the works is long-distance love, the exquisite art background and the delicate psychological description of young girls are well received. In the fiercely competitive Japanese animated film industry, it is not easy for the two directors to adhere to themselves, bring forth new ideas and constantly release new works. Although the two directors' works look very different, they have something in common. However, there is not much research on the new generation of Japanese animation directors in China, and the comparative study of the works of the two directors is even more numerous. This paper aims to compare the eight works of the two directors from 2004 to 15 years according to the data of the first study between China and Japan. First of all, it explains why the two directors are called "MiyazakiHayao successors". Then, starting from the common points and differences of the works, we begin to discuss the common points in the works of the two directors, including originality, humanism, metaphorical techniques and traditional culture. The second chapter will point out the differences between the two directors in their works by means of case analysis, including growth performance, theme selection and technical form. From this, we can understand some Japanese animated films production mode and performance techniques. The third chapter expounds the film philosophy of the two directors. It is hoped that it can provide a certain degree of reference for the development of Chinese animation industry.
【學(xué)位授予單位】：浙江工商大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J954

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