本文選題：現(xiàn)代漫畫語言 + 傳統(tǒng)漫畫　； 參考：《西安工程大學(xué)》2013年碩士論文

【摘要】：上世紀(jì)四十年代，漫畫家手冢治蟲在《新寶島》中將電影手法引入漫畫，創(chuàng)造了一種全新的漫畫形式，現(xiàn)如今大量漫畫作品里不同景別、角度、機(jī)位的鏡頭感不可否認(rèn)的來自于《新寶島》的革新。在不斷的發(fā)展和完善中逐漸形成了一種具有全新漫畫語言的現(xiàn)代漫畫�，F(xiàn)代漫畫語言融合了電影語言并配合分鏡開創(chuàng)了頁內(nèi)分格的形式，鏡頭語言、蒙太奇技巧和分格的排版，對(duì)敘事技巧、人物刻畫進(jìn)行了更深刻的挖掘和表達(dá)�，F(xiàn)代漫畫已經(jīng)開始影響當(dāng)代人特別是青少年的審美意識(shí)和審美趣味，這種影響是通過現(xiàn)代漫畫閱讀潛移默化的。尤其是在當(dāng)今的漫畫大國(guó)日本，現(xiàn)代漫畫作為一個(gè)重要的文化產(chǎn)業(yè)，幾乎和文學(xué)、影視等處在同等重要地位，無論在商業(yè)性上還是在意識(shí)形態(tài)上都有不容忽視的重要作用。 現(xiàn)代漫畫作為一個(gè)較為完善的表現(xiàn)形式，其自身必然有特殊的語言規(guī)律和符號(hào)規(guī)律。如何分析其語言形式，應(yīng)當(dāng)成為當(dāng)前現(xiàn)代漫畫發(fā)展的一個(gè)理論重點(diǎn)。因此，筆者著眼于當(dāng)前現(xiàn)代漫畫在動(dòng)漫產(chǎn)業(yè)中所處的弱勢(shì)地位，從漫畫的起源入手，進(jìn)一步區(qū)分傳統(tǒng)漫畫與現(xiàn)代漫畫以及傳承關(guān)系，并通過講解的方式，結(jié)合文獻(xiàn)資料和漫畫作品分析現(xiàn)代漫畫語言的構(gòu)成元素和表現(xiàn)形式，試圖解釋“什么是現(xiàn)代漫畫”“其表現(xiàn)形式究竟如何”“現(xiàn)代漫畫的語言和符號(hào)規(guī)律”等最基本問題，進(jìn)一步剖析了現(xiàn)代漫畫的文學(xué)性、藝術(shù)性以及審美趣味。為漫畫研究提供除產(chǎn)業(yè)研究外的另一視角，，希望為現(xiàn)代漫畫的視覺實(shí)現(xiàn)提供理論依據(jù)和創(chuàng)作指導(dǎo)，也期望對(duì)中國(guó)當(dāng)前的動(dòng)漫產(chǎn)業(yè)的完善有所進(jìn)益。
[Abstract]:In the 1940s, cartoonist Osamu Tezuka introduced film techniques into comics, creating a completely new form of comics. Nowadays, a large number of comic works are based on different scenes and angles. The camera sense of the seat undeniably comes from the innovation of the New Treasure Island. In the process of continuous development and perfection, a new language of comics has been gradually formed. Modern comic language combines film language and creates the form of in-page space, lens language, montage technique and typography, and makes a more profound excavation and expression of narrative techniques and characterization. Modern comics have begun to affect the aesthetic consciousness and aesthetic taste of contemporary people, especially teenagers, and this influence is imperceptible through the reading of modern comic books. Especially in Japan, the modern comics, as an important cultural industry, is almost as important as literature, film and television, and plays an important role in both commercial and ideological aspects. Modern comic as a relatively perfect form of expression, its own must have a special law of language and symbol law. How to analyze its language form should be a theoretical focus in the development of modern comics. Therefore, the author focuses on the weak position of modern comics in the animation industry, starting with the origin of comics, and further differentiating the relationship between traditional and modern comics and inheritance, and through the way of explanation. Based on the literature and comics works, this paper analyzes the elements and forms of modern comic language, and tries to explain the most basic problems, such as "what is modern comics" and "how to express them" and "the laws of language and symbol of modern comics". It further analyzes the literariness, artistry and aesthetic taste of modern comics. This paper provides another perspective for comics research in addition to industrial research, hoping to provide theoretical basis and creative guidance for the visual realization of modern comics, and also expects to improve the current animation industry in China.
【學(xué)位授予單位】：西安工程大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J218.2

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