本文選題：迪斯尼　切入點(diǎn)：動(dòng)畫(huà)　出處：《曲阜師范大學(xué)》2009年碩士論文

【摘要】： 進(jìn)入21世紀(jì),在文化全球化的語(yǔ)境中,美國(guó)動(dòng)畫(huà)電影憑借先進(jìn)的技術(shù)、創(chuàng)新的理念和成熟的產(chǎn)業(yè)化制作享譽(yù)全球,動(dòng)畫(huà)電影已經(jīng)成為美國(guó)舉足輕重的類型片,動(dòng)漫產(chǎn)業(yè)已經(jīng)成為美國(guó)重要的支柱產(chǎn)業(yè)。而中國(guó)動(dòng)畫(huà)電影在創(chuàng)造昔日的輝煌后卻陷入沉寂,與美國(guó)動(dòng)畫(huà)產(chǎn)業(yè)相比較,中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)在各方面都存在著有目共睹的差距,而最根本的是在動(dòng)畫(huà)創(chuàng)作的理念上,因此本論文從借鑒學(xué)習(xí)的角度選取40余部美國(guó)經(jīng)典動(dòng)畫(huà)影片,通過(guò)本文分析的方法對(duì)其進(jìn)行詳細(xì)解讀,同時(shí)分析了“中國(guó)學(xué)派”動(dòng)畫(huà)電影的魅力所在,通過(guò)對(duì)90年代后中美動(dòng)畫(huà)電影本文特征對(duì)比來(lái)探討中國(guó)動(dòng)畫(huà)電影的差距,以期能夠?qū)χ袊?guó)動(dòng)畫(huà)電影的制作帶來(lái)一點(diǎn)啟迪,能為中國(guó)動(dòng)畫(huà)電影的理論體系增磚添瓦。 本論文運(yùn)用傳播學(xué)、影視心理學(xué)、影視美學(xué)和語(yǔ)言學(xué)的相關(guān)理論,采用案例分析法和比較分析法對(duì)選取的美國(guó)動(dòng)畫(huà)影片進(jìn)行本文分析。論文第一章從文化轉(zhuǎn)換、美國(guó)精神的體現(xiàn)、觀眾定位、童話情結(jié)以及情感招牌的角度對(duì)美國(guó)動(dòng)畫(huà)電影的題材進(jìn)行探討;第二章從動(dòng)畫(huà)人物的性格、雙人及多人搭檔、動(dòng)畫(huà)人物造型等方面對(duì)動(dòng)畫(huà)人物的特征進(jìn)行詳細(xì)解讀;第三章從繪畫(huà)風(fēng)格、CG技術(shù)、場(chǎng)景、色彩、動(dòng)畫(huà)音樂(lè)、動(dòng)畫(huà)配音、人物語(yǔ)言等特征進(jìn)行分析;第四章從戲劇化結(jié)構(gòu)、蒙太奇剪輯及敘事角度來(lái)分析美國(guó)動(dòng)畫(huà)電影的敘事方式特征;第五章首先陳述了中國(guó)動(dòng)畫(huà)電影的發(fā)展史,然后對(duì)“中國(guó)學(xué)派”動(dòng)畫(huà)電影的民族化特征進(jìn)行詳細(xì)解讀,最后對(duì)90年代后中美動(dòng)畫(huà)電影本文特征進(jìn)行對(duì)比,深入探討中國(guó)動(dòng)畫(huà)電影在創(chuàng)作理念上存在的差距。 通過(guò)對(duì)美國(guó)動(dòng)畫(huà)電影的本文分析得出,美國(guó)動(dòng)畫(huà)電影的成功在于準(zhǔn)確地把握了電影觀眾的期待心理,即定向期待和創(chuàng)新期待。美國(guó)動(dòng)畫(huà)電影中純真的友情,真摯的愛(ài)情,濃濃的親情,善必勝惡的真理,大團(tuán)圓的結(jié)局,煽情的故事情節(jié),快樂(lè)的生活理念,無(wú)處不在的童心以及人文關(guān)懷使現(xiàn)實(shí)中人們無(wú)法實(shí)現(xiàn)的理想愿望通過(guò)銀幕上的夢(mèng)幻世界得以實(shí)現(xiàn),使觀眾的定向期待得到滿足;而大膽的創(chuàng)意,精湛的CG技術(shù),時(shí)尚亮麗的服裝、美輪美奐、壯觀的場(chǎng)景,可愛(ài)逗趣的人物造型以及豐富多變的鏡頭語(yǔ)言使觀眾耳目一新,極大地滿足了觀眾的視覺(jué)快感和創(chuàng)新期待。因此,中國(guó)動(dòng)畫(huà)電影要重振昔日輝煌,除了要深入挖掘中華民族豐富的文化資源外,還必須深諳觀眾心理,與時(shí)代同行,只有這樣我們才能走出低谷再創(chuàng)輝煌。
[Abstract]:In the 21st century, in the context of cultural globalization, American animation film has become a pivotal type of film in the United States because of its advanced technology, innovative ideas and mature industrial production. Animation industry has become an important pillar industry in the United States. But the Chinese animation industry has fallen into silence after creating the former glory. Compared with the American animation industry, the Chinese animation industry has a visible gap in all aspects. And the most fundamental is in the concept of animation creation, so this paper selects more than 40 American classic animation films from the perspective of learning, through this analysis of the method of detailed interpretation, At the same time, this paper analyzes the charm of the "Chinese School" animation film, and discusses the gap between the Chinese and American animation films by comparing the characteristics of this article after the 1990s, in order to bring some enlightenment to the production of the Chinese animation film. It can add bricks and tiles to the theoretical system of Chinese animated films. This paper uses the theories of communication, film and television psychology, film aesthetics and linguistics to analyze the selected American animated films by case analysis and comparative analysis. The embodiment of American spirit, audience orientation, fairy tale complex and emotional signboard to explore the theme of American animated films. Chapter two from the character of animated characters, double and multi-person partner, The third chapter analyzes the characteristics of animation characters from the aspects of painting style CG technology, scene, color, animation music, animation dubbing, character language and so on. The fifth chapter states the history of the development of Chinese animation film, and then explains the nationalization characteristics of the "Chinese school" animation film in detail. Finally, this paper compares the characteristics of Chinese and American animation films after 1990's, and probes into the gap in the creative concept of Chinese animation films. Through the analysis of the American animation film, it is concluded that the success of the American animation film lies in accurately grasping the expectation psychology of the movie audience, that is, the directed expectation and the innovation expectation. The thick affection, the truth that the good will prevail the evil, the happy ending, the emotional story plot, the happy life idea, The omnipresent childlike heart and the humanity concern enable the reality people to realize the ideal desire which cannot be realized through the screen dream world, causes the audience's directed expectation to be satisfied; but the bold creativity, the consummate CG technology, Stylish clothes, beautiful, spectacular scenes, lovely and funny characters and rich and varied lens language make the audience fresh and fresh, and greatly meet the audience's visual pleasure and innovative expectations. In order to revive the former glory, the Chinese animation film must not only dig into the rich cultural resources of the Chinese nation, but also deeply understand the audience psychology and walk with the times. Only in this way can we get out of the trough and create the glory again.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J905

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 索理;;有關(guān)色彩在電影中的視覺(jué)審美與表意分析[J];電影文學(xué);2013年20期

相關(guān)碩士學(xué)位論文 前5條

1 邵軍;Flash動(dòng)畫(huà)在中國(guó)農(nóng)民科普教育中的應(yīng)用研究[D];中國(guó)農(nóng)業(yè)科學(xué)院;2010年

2 沈思;從《木蘭》到《花木蘭》：文化轉(zhuǎn)換與文化資本的博弈的個(gè)例分析[D];吉林大學(xué);2011年

3 趙慶珠;論迪士尼動(dòng)畫(huà)電影發(fā)展的內(nèi)生動(dòng)力[D];上海師范大學(xué);2011年

4 唐平;皮克斯動(dòng)畫(huà)長(zhǎng)片藝術(shù)特征研究[D];浙江師范大學(xué);2011年

5 杜江;論動(dòng)畫(huà)片對(duì)青少年道德觀及價(jià)值觀的影響[D];南昌大學(xué);2011年

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本文編號(hào)：1656192