本文關(guān)鍵詞： 傳播生態(tài)學(xué) 媒介生態(tài)學(xué) 動(dòng)漫產(chǎn)業(yè) 文化產(chǎn)業(yè) 生態(tài)環(huán)境 生態(tài)位 產(chǎn)業(yè)鏈　出處：《浙江大學(xué)》2009年博士論文　論文類型：學(xué)位論文

【摘要】： 傳播生態(tài)學(xué)是傳播學(xué)與生態(tài)學(xué)交叉的產(chǎn)物。本論文在傳播生態(tài)學(xué)的理論框架下,從動(dòng)漫產(chǎn)業(yè)的原生態(tài)(文化生態(tài)、技術(shù)生態(tài))、內(nèi)部生態(tài)(受眾、產(chǎn)品、資本和人力生態(tài))和外部生態(tài)(國(guó)際環(huán)境)入手,考察中國(guó)動(dòng)漫產(chǎn)業(yè)的生態(tài)環(huán)境及相關(guān)生態(tài)因子的變化影響。 中國(guó)動(dòng)漫產(chǎn)業(yè)發(fā)展之路并不平坦,從一開始就是在海外產(chǎn)業(yè)大舉進(jìn)攻的環(huán)境下進(jìn)行的,加上從計(jì)劃經(jīng)濟(jì)到市場(chǎng)經(jīng)濟(jì)的轉(zhuǎn)變,無(wú)論產(chǎn)業(yè)政策還是產(chǎn)業(yè)環(huán)境準(zhǔn)備都不足,存在著先天缺陷,現(xiàn)在也面臨重重困難。動(dòng)漫產(chǎn)業(yè)是一個(gè)較為特殊的文化產(chǎn)業(yè)形態(tài),涉及的內(nèi)容也相當(dāng)廣泛,動(dòng)漫產(chǎn)業(yè)具有市場(chǎng)潛力大、產(chǎn)業(yè)關(guān)聯(lián)度大;技術(shù)含量高、附加值高;能耗低、污染低;高投入,投資回收周期長(zhǎng)等特點(diǎn)。在傳播生態(tài)系統(tǒng)中,科學(xué)技術(shù)是這個(gè)生態(tài)環(huán)境重要的影響因子。技術(shù)的進(jìn)步讓動(dòng)漫產(chǎn)業(yè)和每一個(gè)人都息息相關(guān)。除了傳統(tǒng)的傳播途徑之外,手機(jī)、網(wǎng)絡(luò)等新媒體的運(yùn)用更為動(dòng)漫產(chǎn)業(yè)的發(fā)展打開了新的天地。新媒體的開發(fā)不單是動(dòng)漫傳播方式的增加,更是動(dòng)漫內(nèi)容的豐富。新媒體還帶來(lái)了動(dòng)漫受眾的族群的擴(kuò)大,使動(dòng)漫受眾生態(tài)處于更合理的位置。受眾生態(tài)在我國(guó)動(dòng)漫產(chǎn)業(yè)生態(tài)位中嚴(yán)重失衡,長(zhǎng)期以來(lái),動(dòng)漫受眾低幼化的定位導(dǎo)致了成人動(dòng)漫市場(chǎng)被境外動(dòng)漫企業(yè)所占領(lǐng)。 在中國(guó)動(dòng)漫產(chǎn)業(yè)內(nèi)部生態(tài)中,投融資困難、動(dòng)漫產(chǎn)業(yè)所需的各類人才缺乏、動(dòng)漫內(nèi)容產(chǎn)品原創(chuàng)性不足,都是制約動(dòng)漫產(chǎn)業(yè)未來(lái)發(fā)展的瓶頸問(wèn)題。我國(guó)政府要出臺(tái)更加有力的支持動(dòng)漫產(chǎn)業(yè)發(fā)展的投融資政策,鼓勵(lì)企業(yè)開拓投融資渠道,利用各種手段培養(yǎng)急需的動(dòng)漫人才,采取措施加快原創(chuàng)動(dòng)漫產(chǎn)品的開發(fā)。完整的產(chǎn)業(yè)鏈?zhǔn)莿?dòng)漫產(chǎn)業(yè)獲得快速、健康發(fā)展的基礎(chǔ)。從動(dòng)漫發(fā)展模式來(lái)看,要采取政府扶持和市場(chǎng)運(yùn)作相結(jié)合的方式,利用現(xiàn)有的各個(gè)層次的動(dòng)漫基地等平臺(tái),努力完善從內(nèi)容原創(chuàng)、動(dòng)畫制作營(yíng)銷發(fā)行、相關(guān)產(chǎn)業(yè)跟進(jìn)的動(dòng)漫產(chǎn)業(yè)鏈。 全球化浪潮下,文化的融通共享已勢(shì)不可擋。動(dòng)漫產(chǎn)業(yè)的文化生態(tài)因子的影響也越來(lái)越凸顯。要在共享文化背景下發(fā)展我國(guó)的動(dòng)漫產(chǎn)業(yè),在世界動(dòng)漫產(chǎn)業(yè)生態(tài)環(huán)境競(jìng)爭(zhēng)中不被淘汰出局,使自己的“生態(tài)位”不被外來(lái)者“侵占”,從文化生態(tài)的角度,要處理好三大關(guān)系:傳統(tǒng)文化與創(chuàng)新發(fā)展的關(guān)系;國(guó)際合作與自主品牌的關(guān)系;文化共享與拿來(lái)主義的關(guān)系。中國(guó)的動(dòng)漫產(chǎn)業(yè)要抓住機(jī)遇,調(diào)整發(fā)展策略,使“朝陽(yáng)產(chǎn)業(yè)”在不久的將來(lái)真正“陽(yáng)光燦爛”。
[Abstract]:Communication ecology is the intersecting product of communication and ecology. Under the theoretical framework of communication ecology, this paper starts with the original ecology of animation industry (cultural ecology, technological ecology, internal ecology, audience, product, etc.). Capital and human ecology) and external ecology (international environment), the ecological environment of China's animation industry and the impact of related ecological factors are investigated. The road to the development of China's animation industry has not been smooth. From the beginning, it was carried out under the environment of large-scale attacks by overseas industries. In addition, with the transition from planned economy to market economy, neither industrial policy nor industrial environment preparation was adequate. Animation industry is a relatively special cultural industry form, involving a wide range of content, animation industry has a large market potential, industry correlation degree, high technology content, the animation industry is a special cultural industry, the animation industry is a relatively special form of cultural industry, involving a wide range of content, animation industry has a large market potential, a large degree of industrial association; High added value, low energy consumption, low pollution, high input, long investment recovery cycle, etc. In the transmission ecosystem, Science and technology is an important factor in the ecological environment. Advances in technology have made the animation industry closely related to everyone. In addition to the traditional means of communication, mobile phones, The use of new media, such as the Internet, has opened up a new world for the development of the animation industry. The development of new media is not only the increase in the way of animation communication, but also the enrichment of the content of animation. The new media has also brought about the expansion of the ethnic groups of the audience of animation. The audience ecology is in a more reasonable position. The audience ecology is seriously out of balance in the ecological niche of animation industry in our country. For a long time, the positioning of anime audience primary-age has led to the adult animation market being occupied by foreign animation companies. In the internal ecology of China's animation industry, it is difficult to invest in and finance, the animation industry needs a variety of talent, animation content product originality is insufficient, Our government should introduce more effective investment and financing policies to support the development of the animation industry, encourage enterprises to open up investment and financing channels, and use various means to train much-needed animation talents. Take measures to speed up the development of original animation products. A complete industrial chain is the basis for the rapid and healthy development of the animation industry. From the perspective of the animation development model, the combination of government support and market operation should be adopted. Using the existing animation base at all levels and other platforms, try to improve the animation industry chain from the original content, animation production marketing distribution, related industries follow up. Under the tide of globalization, cultural integration and sharing has become irresistible. The influence of cultural ecological factors of animation industry is becoming more and more prominent. In order to develop the animation industry in China under the background of shared culture, In the world animation industry ecological environment competition is not eliminated, so that their "niche" is not "encroached" by outsiders, from the perspective of cultural ecology, we should deal with three relations: the relationship between traditional culture and innovative development; The relationship between international cooperation and independent brands, the relationship between cultural sharing and the doctrine of bringing forth ideas. China's animation industry should seize the opportunity and adjust its development strategy so that the "sunrise industry" will be truly "sunny" in the near future.
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2009
【分類號(hào)】：G206.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前3條

1 楊文強(qiáng);趙毅尊;;西藏傳統(tǒng)文化資源的動(dòng)漫產(chǎn)業(yè)化孕育芻議[J];科技廣場(chǎng);2013年04期

2 王安琪;朱春陽(yáng);郭虹;;產(chǎn)業(yè)規(guī)制視角下中國(guó)動(dòng)畫片“走出去”之問(wèn)題研究——以日本為參照系的考察[J];中國(guó)媒體發(fā)展研究報(bào)告;2012年00期

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1 孫振濤;3D動(dòng)畫電影研究：本體理論與文化[D];華東師范大學(xué);2011年

2 徐金龍;從資源到資本[D];華中師范大學(xué);2011年

3 周晨;文化生態(tài)的衍變與中國(guó)動(dòng)畫電影發(fā)展研究[D];蘇州大學(xué);2011年

4 耿蕊;中國(guó)動(dòng)漫產(chǎn)業(yè)集群發(fā)展研究[D];武漢大學(xué);2010年

相關(guān)碩士學(xué)位論文 前10條

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2 李艷;動(dòng)漫語(yǔ)言研究[D];湘潭大學(xué);2011年

3 江娟;堰河村的傳播生態(tài)研究[D];華中農(nóng)業(yè)大學(xué);2011年

4 張曄;動(dòng)漫產(chǎn)業(yè)競(jìng)爭(zhēng)力國(guó)際比較研究[D];東華大學(xué);2012年

5 郭振東;制度轉(zhuǎn)向下上海市靜安區(qū)動(dòng)漫產(chǎn)業(yè)空間演變與分異研究[D];上海師范大學(xué);2010年

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10 陳e，

本文編號(hào)：1502285