本文選題：動(dòng)畫(huà)形象　切入點(diǎn)：價(jià)值取向　出處：《浙江師范大學(xué)》2012年碩士論文

【摘要】：動(dòng)畫(huà)形象是動(dòng)畫(huà)片的靈魂,在動(dòng)畫(huà)片的制作流程中,角色的造型設(shè)計(jì)占有極其重要的位置。一部成功的動(dòng)畫(huà)影片必須有好的角色造型,才能充分地展現(xiàn)出影片的故事情節(jié)及典型環(huán)境中的典型人物。優(yōu)秀的動(dòng)畫(huà)形象不僅具有藝術(shù)性,還具有很大的商業(yè)價(jià)值。 動(dòng)畫(huà)作為承載文化意識(shí)形態(tài)的特殊藝術(shù)創(chuàng)作形式,從誕生就得到觀眾的關(guān)注和喜愛(ài),隨著動(dòng)畫(huà)技術(shù)的飛速發(fā)展和動(dòng)畫(huà)內(nèi)容的日益變化,動(dòng)畫(huà)產(chǎn)業(yè)鏈也在逐漸形成和成熟。中國(guó)的動(dòng)畫(huà)片想要在動(dòng)畫(huà)市場(chǎng)上占據(jù)一席之地,帶動(dòng)相關(guān)產(chǎn)業(yè)鏈的良性循環(huán)發(fā)展,動(dòng)畫(huà)形象是關(guān)鍵。動(dòng)畫(huà)源遠(yuǎn)流長(zhǎng),深受本國(guó)文化思想的影響,動(dòng)畫(huà)形象往往反映的是本民族的性格特征。而如今,在與美國(guó)、日本這樣的動(dòng)畫(huà)強(qiáng)國(guó)共存的時(shí)代,中國(guó)動(dòng)畫(huà)一直在不斷模仿和重復(fù)國(guó)外的優(yōu)秀動(dòng)畫(huà),漸漸地喪失了自己的風(fēng)格。國(guó)外的風(fēng)格即使模仿得再好,但是缺乏對(duì)文化的深層次理解,只能流于膚淺的表面,形似而神不似。我們要反思當(dāng)代動(dòng)畫(huà)創(chuàng)作陷入民族風(fēng)格和審美價(jià)值喪失的種種原因,在今后的動(dòng)畫(huà)創(chuàng)作中,繼續(xù)堅(jiān)持作品的民族化與本土化,提高國(guó)產(chǎn)動(dòng)畫(huà)的創(chuàng)作質(zhì)量。 本論文用類(lèi)比方法剖析中美經(jīng)典動(dòng)畫(huà)影片中的角色形象,對(duì)其形象塑造的特征性和文化根源進(jìn)行探究,分析動(dòng)畫(huà)形象元素的藝術(shù)特征,并將兩國(guó)的動(dòng)畫(huà)形象進(jìn)行比較,用馬克思主義歷史觀和美學(xué)觀來(lái)探析造成兩國(guó)動(dòng)畫(huà)形象差異的文化根源。 論文由五部分組成：在第一章中對(duì)“動(dòng)畫(huà)”和“動(dòng)畫(huà)形象”的概念進(jìn)行了闡述,并將中美兩國(guó)動(dòng)畫(huà)的發(fā)展歷程進(jìn)行了梳理,提出了動(dòng)畫(huà)藝術(shù)特征及其文化意義；在第二章中從動(dòng)畫(huà)形象的性格、行為和臺(tái)詞方面入手,分析了經(jīng)典形象的藝術(shù)性和符號(hào)特征；本文的第三、四、五章是重點(diǎn)也是難點(diǎn),首先在第三章中對(duì)比了中美動(dòng)畫(huà)形象在創(chuàng)新意識(shí)上的差異,得出只有具有創(chuàng)意的動(dòng)畫(huà)才能獲得成功；進(jìn)而在第四、五章中對(duì)中美文化的價(jià)值取向和審美價(jià)值進(jìn)行了闡述,例舉了具有代表性和說(shuō)明性的經(jīng)典動(dòng)畫(huà),通過(guò)橫向?qū)Ρ葎?dòng)畫(huà)中的角色,分析兩者之間的差異,提煉和挖掘兩國(guó)的文化對(duì)動(dòng)畫(huà)產(chǎn)生的影響,探求中國(guó)動(dòng)畫(huà)落后的原因,希望借由學(xué)習(xí)國(guó)外的成功經(jīng)驗(yàn),對(duì)中國(guó)動(dòng)畫(huà)在觀念更新和形象創(chuàng)意上能夠有更為深遠(yuǎn)的指導(dǎo)意義。在本文的結(jié)語(yǔ)部分,對(duì)我國(guó)動(dòng)漫產(chǎn)業(yè)的發(fā)展提出了幾點(diǎn)建議,要追求形象的真實(shí)性,改變傳統(tǒng)觀念,拓寬受眾范圍,迎合觀眾的審美需求,樹(shù)立國(guó)人自己的動(dòng)畫(huà)形象品牌。
[Abstract]:Animation image is the soul of animation, in the animation production process, the role of modeling design occupies an extremely important position.A successful animated film must have good character modeling, in order to fully show the story of the film and typical characters in the typical environment.Excellent animation image is not only artistic, but also of great commercial value.Animation, as a special form of artistic creation carrying cultural ideology, has been concerned and loved by the audience since its birth. With the rapid development of animation technology and the increasing change of animation content, animation industry chain is gradually formed and mature.Animation image is the key to the development of animation industry chain in China.Animation has a long history and is deeply influenced by national culture.Now, in the era of coexistence with American and Japanese animation powers, Chinese animation has been constantly imitating and repeating foreign excellent animation, gradually losing its own style.Foreign style, however well imitated, lacks a deeper understanding of culture and can only be seen on a superficial surface, similar in shape but not in spirit.We should reflect on the various reasons for the loss of national style and aesthetic value in contemporary animation creation, and continue to persist in the nationalization and localization of works in the future animation creation, and improve the quality of domestic animation creation.This paper uses analogy method to analyze the character image in the Chinese and American classic animation films, explores the characteristics and cultural roots of its image shaping, analyzes the artistic characteristics of the animation image elements, and compares the animation images of the two countries.Using Marxist view of history and aesthetics to explore the cultural roots of the differences in animation images between the two countries.The thesis consists of five parts: in the first chapter, the concepts of "animation" and "animation image" are expounded, and the development course of animation between China and the United States is combed, and the artistic features of animation and its cultural significance are put forward.In the second chapter, the author analyzes the artistic and symbolic characteristics of the classic image from the aspects of character, behavior and lines of the animation image, and the third, fourth and fifth chapters are the key points and difficulties.In the third chapter, the author compares the differences of Chinese and American animation images in innovation consciousness, and draws the conclusion that only creative animation can achieve success, and then, in the fourth and fifth chapters, the value orientation and aesthetic value of Chinese and American culture are expounded.This paper gives an example of the representative and illustrative classic animation, analyzes the differences between the two, extracts and excavates the influence of the cultures of the two countries on the animation, and explores the reasons for the backwardness of the Chinese animation through the horizontal comparison of the characters in the animation.It is hoped that by studying the successful experience of foreign countries, it will have more profound guiding significance for Chinese animation in concept renewal and image creativity.In the conclusion of this paper, some suggestions are put forward for the development of animation industry in China. We should pursue the authenticity of the image, change the traditional concept, widen the range of the audience, cater to the aesthetic needs of the audience, and set up our own brand of animation image.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王麗;陶娥;王書(shū)一;;中美動(dòng)畫(huà)片跨文化比較研究[J];長(zhǎng)城;2009年12期

2 宋書(shū)利;;動(dòng)畫(huà)角色造型要點(diǎn)分析[J];電影評(píng)介;2010年09期

3 吳起;從大力神到埃及王子動(dòng)畫(huà)片的電影語(yǔ)言[J];電影藝術(shù);2001年03期

4 高放;迪斯尼動(dòng)畫(huà)電影的造型特征[J];電影藝術(shù);2001年03期

5 辛香蘭;夢(mèng)工廠開(kāi)山之作——《埃及王子》[J];吉林藝術(shù)學(xué)院學(xué)報(bào);2003年02期

6 張燁;;水墨動(dòng)畫(huà)《山水情》中的隱喻世界[J];吉林藝術(shù)學(xué)院學(xué)報(bào);2008年04期

7 上官婷婷;;淺析動(dòng)畫(huà)角色的塑造——性格[J];科技信息;2010年18期

8 華靜;;文化差異、文化誤讀與誤讀的創(chuàng)造性價(jià)值——兼析動(dòng)畫(huà)片《花木蘭》與《功夫熊貓》的中美文化差異與誤讀現(xiàn)象[J];蘭州學(xué)刊;2010年01期

9 于瑾;方建國(guó);;動(dòng)畫(huà)角色的性格塑造[J];浙江工藝美術(shù);2008年02期

10 張彩秋;;《怪物史萊克》對(duì)傳統(tǒng)經(jīng)典童話的顛覆[J];作家;2009年10期

相關(guān)碩士學(xué)位論文 前3條

1 田磊;中外影視動(dòng)畫(huà)民族藝術(shù)風(fēng)格比較研究[D];山東師范大學(xué);2008年

2 張靜;美國(guó)經(jīng)典動(dòng)畫(huà)角色造型案例的研究[D];華中師范大學(xué);2008年

3 史春霞;美國(guó)動(dòng)畫(huà)的文化取向及其審美價(jià)值研究[D];湖南師范大學(xué);2008年

，

本文編號(hào)：1723607