本文選題：環(huán)保主義　切入點：生態(tài)意識　出處：《重慶師范大學》2010年碩士論文　論文類型：學位論文

【摘要】： 隨著人類文明進入二十一世紀的第一個十年,生態(tài)問題早已成為全球炙手可熱的話題之一。人類與自然的關系正逐漸變得緊張,人已嘗到了自然報復的惡果。在新的世紀,人們在發(fā)展經濟的同時開始關注環(huán)保、生態(tài)平衡,于是出現(xiàn)了“低碳”這個名詞。人類應如何維持生態(tài)平衡、如何保持與自然的良性循環(huán),在日本動畫大師宮崎駿的作品中,也許可以得到一點啟示。宮崎駿在他的動畫電影中注入了深厚的人文關懷,尤其是他的生態(tài)意識和環(huán)保主義,給他的動畫作品打上了鮮明的宮崎印記。其作品意蘊深遠、引人深思。在美國迪斯尼動畫大片興起并迅速搶占電影市場的今天,宮崎駿的動畫獨樹一幟,如一股清流緩緩浸潤著人們的靈魂。 通過研究宮崎駿的作品,可以感受到他對藝術執(zhí)著地追求。他的良知與堅守使他的動畫電影在眾多日美動畫電影中脫穎而出,并在全球獲得贊譽無數(shù)。優(yōu)秀的作品是經得起時間考驗的,宮崎駿從上世紀八十年代投身動畫開始,其作品到現(xiàn)在都被廣大動畫迷和專家奉為經典。本文正是在這樣一個大背景下,從宮崎駿動畫電影的生態(tài)意識切入,研究宮崎駿本人的生態(tài)觀,以及其生態(tài)觀在作品中的體現(xiàn)。本文首先綜述宮崎駿動畫電影的基本思想,主要歸類為強烈的人文關懷、反戰(zhàn)情緒,以及對人類自身生存狀態(tài)的思考,為第二章的研究做鋪墊。第二章緊接第一章的問題,深入探討宮崎駿對人與自然關系的困惑與反思。宮崎駿電影的魔幻色彩、清新自然的美學風格、悲天憫人的感傷情懷,構成了宮崎氏電影的獨特美學魅力;作品中的生態(tài)美學思想是使其電影獨具魅力的重要因素。但做出美好作品的宮崎駿本人卻是一個矛盾者。他熱愛、敬畏自然,對人類社會充滿失望,他希望雜草能接管世界的愿望表明他是一位自然中心主義者。但現(xiàn)實的壓力,商業(yè)化的運作模式,卻讓他不得不選擇折衷的方式,給自己的作品畫上完滿的句號。因此宮崎駿又是一位折衷的悲觀主義者。他的矛盾與掙扎、憂思與執(zhí)著,構建了一個富有深意且意蘊悠長的宮崎世界。 最后一章著重討論宮崎駿動畫電影對中國動畫電影的發(fā)展有何新的啟示。中國動畫電影起步不晚,曾經輝煌,但現(xiàn)狀堪憂。本章從內容和藝術兩方面以中國動畫現(xiàn)狀對比宮崎駿的動畫,聯(lián)系傳統(tǒng)來談如何吸取他的啟示,將中國動畫再次推向輝煌。
[Abstract]:As human civilization enters the first decade of 21th century, ecological problems have long become one of the hottest topics in the world. The relationship between human beings and nature has become increasingly tense, and people have experienced the consequences of natural revenge. In the new century, People began to pay attention to environmental protection and ecological balance while developing economy, so the term "low carbon" appeared. How to maintain ecological balance, how to keep a virtuous circle with nature, in the works of Japanese animation master MiyazakiHayao. It may be a bit of a revelation. MiyazakiHayao has injected deep humanistic concern into his animated films, especially his ecological consciousness and environmentalism, which has marked his animation works with distinct Miyazaki imprint. His works have profound implications. Thought-provoking. In the United States Disney animation blockbuster rise and quickly seize the film market today, MiyazakiHayao's animation is unique, such as a clear stream slowly infiltrating the soul of people. Through the study of MiyazakiHayao's works, one can feel his persistent pursuit of art. His conscience and persistence have made his animated films stand out among many Japanese-American animated films. And has won countless accolades around the world. Excellent works stand the test of time, and MiyazakiHayao has been involved in animation since -20s. His works have been regarded as classics by the majority of animation fans and experts. It is against this background that this paper studies MiyazakiHayao's own ecological outlook from the ecological consciousness of MiyazakiHayao's animated films. This paper first summarizes the basic ideas of MiyazakiHayao's animated films, which are mainly classified as strong humanistic concern, anti-war sentiment, and thinking about the living state of human beings themselves. The second chapter is about the problems in the first chapter, and discusses MiyazakiHayao's perplexity and reflection on the relationship between man and nature. The magical color of MiyazakiHayao's film, the fresh and natural aesthetic style, the sentimental feelings of the human being. The unique aesthetic charm of Miyazaki's films; the ecological aesthetics in his works is an important factor to make his films unique. But MiyazakiHayao himself, who makes beautiful works, is a contradiction. He loves and fears nature. Disappointed in human society, he wanted weeds to take over the world, showing him to be a natural-centrism. But the pressure of reality, the commercial way of working, forced him to choose a compromise. Therefore, MiyazakiHayao is a tradeoff pessimist. His contradictions and struggles, worries and persistence, build a profound and meaningful Miyazaki world. The last chapter focuses on what new enlightenment MiyazakiHayao animated films have on the development of Chinese animated films. But the present situation is worrying. This chapter compares MiyazakiHayao's animation with the current situation of Chinese animation from two aspects of content and art, discusses how to absorb his inspiration from tradition, and pushes Chinese animation to glory again.
【學位授予單位】：重慶師范大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：J954

【引證文獻】

相關期刊論文 前1條

1 文勁松;魏汐珂;;宮崎駿動畫電影中的生態(tài)敘事策略[J];芒種;2013年12期

相關碩士學位論文 前1條

1 童菲菲;動畫電影中的生態(tài)敘事研究[D];南京藝術學院;2012年

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本文編號：1624229