本文選題：動漫 + 動漫產(chǎn)業(yè)�。� 參考：《東北財經(jīng)大學》2011年碩士論文

【摘要】：改革開放以來,動漫作品不僅在近十年來的文化產(chǎn)業(yè)發(fā)展中展現(xiàn)了獨自的魅力,而且它所帶來的經(jīng)濟效益、所推動的動漫產(chǎn)業(yè)鏈新型業(yè)態(tài)與運作管理的變革,都對文化產(chǎn)業(yè)改革發(fā)展起到了舉足輕重的作用。同時,我國動漫產(chǎn)業(yè)還積極與美、日、韓以及港澳臺地區(qū)進行文化交流,與世界動漫發(fā)展潮流密切相關(guān),從一個側(cè)面反映了中國動漫產(chǎn)業(yè)對外開放,走出國門,與世界動漫作品爭奇斗艷的矯健步履。 作為一種新的產(chǎn)業(yè)經(jīng)濟形態(tài),當前我國動漫產(chǎn)業(yè)還處于發(fā)育期,還不夠成熟,與發(fā)達國家相比還存在著相當大的差距。尤其是動漫產(chǎn)業(yè)作為一個高投入、高風險的行業(yè),巨大的投資規(guī)模不是一般企業(yè)所能承擔的。其次,我國動漫產(chǎn)業(yè)的盈利模式還很不成熟,大多數(shù)動漫企業(yè)經(jīng)營效益不高,處境困難。動漫產(chǎn)業(yè)的這種困境,導致對其投入嚴重不足,極大影響了我國動漫產(chǎn)業(yè)的正常發(fā)展。 2009年9月,國務院頒布了《文化產(chǎn)業(yè)振興規(guī)劃》,這標志著發(fā)展文化產(chǎn)業(yè)已經(jīng)被提升到了國家戰(zhàn)略高度。在黨的十七大報告中,中央已經(jīng)把“提高國家文化軟實力”上升到了國家戰(zhàn)略的高度,動漫產(chǎn)業(yè)的建設和發(fā)展已經(jīng)成為社會主義文化建設的重要任務。在2011年10月召開的中共十七屆六中全會上,又提出了2020年文化改革發(fā)展奮斗目標,做出了大力發(fā)展社會主義文化產(chǎn)業(yè)、建設文化強國的戰(zhàn)略部署,為包括動漫產(chǎn)業(yè)在內(nèi)的中國文化產(chǎn)業(yè)發(fā)展開辟了廣闊的前景。通觀我國文化產(chǎn)業(yè)發(fā)展速度、產(chǎn)業(yè)格局、發(fā)展趨勢,可以預見未來十年將是中國文化產(chǎn)業(yè)發(fā)展的黃金時期,把握未來趨勢和商機顯得尤為重要。 在國際文化企業(yè)巨頭競相在中國厲兵秣馬的時刻,新媒體企業(yè)的融合、整合、做大做強已刻不容緩。以此為契機,必須加強完善我國的動漫產(chǎn)業(yè)投資融資體系,加大對動漫產(chǎn)業(yè)投資融資的支持力度,盡快扭轉(zhuǎn)目前的落后局面,以促進我國動漫產(chǎn)業(yè)乃至整個文化產(chǎn)業(yè)的健康發(fā)展。因此,從理論上對動漫產(chǎn)業(yè)的投資融資問題進行研究,就對我國動漫產(chǎn)業(yè)發(fā)展具有重要的理論意義和實際價值。 本文在對動漫、動漫產(chǎn)業(yè)定義和特點科學解析的基礎上,詳細闡述了動漫產(chǎn)業(yè)投資的定義、特點,并結(jié)合美國、日本、韓國這三個動漫產(chǎn)業(yè)強國的發(fā)展歷程、特點和投資經(jīng)驗,分析論述了中國動漫產(chǎn)業(yè)的現(xiàn)狀、存在的問題以及改革、發(fā)展的政策措施。 全文共分四章,各章具體內(nèi)容如下： 第一章,緒論。在說明本文的選題背景、研究的理論意義和實際價值的基礎上,介紹了動漫產(chǎn)業(yè)發(fā)展的相關(guān)理論,概括了國內(nèi)外關(guān)于動漫產(chǎn)業(yè)研究的現(xiàn)狀,說明了本文的創(chuàng)新與不足。 第二章,國外動漫產(chǎn)業(yè)的發(fā)展與特點。在對動漫及動漫產(chǎn)業(yè)進行概念界定的基礎上,分別論述了美國、日本動漫產(chǎn)業(yè)的發(fā)展,說明了其發(fā)展的特點和面臨的問題。 第三章,國外動漫產(chǎn)業(yè)的投資現(xiàn)狀和經(jīng)驗。在對動漫產(chǎn)業(yè)投資進行概念界定和特點分析的基礎上,分別論述了美國、日本、韓國動漫產(chǎn)業(yè)的投資機制,說明了其動漫產(chǎn)業(yè)投資的不同特點。 第四章,中國動漫產(chǎn)業(yè)的現(xiàn)狀和前景。首先介紹了中國動漫產(chǎn)業(yè)的現(xiàn)狀,分析了中國動漫產(chǎn)業(yè)所具有的優(yōu)勢、投資環(huán)境以及存在的問題；其次,具體分析了《喜羊羊與灰太狼》這部動畫取得的成績以及成功的原因；最后,分析了中國未來動漫產(chǎn)業(yè)的前景,并提出了一些促進動漫產(chǎn)業(yè)發(fā)展的對策和建議。 本文在研究和寫作的過程中,筆者沒有全方位地探究動漫產(chǎn)業(yè)各個環(huán)節(jié)所出現(xiàn)的問題,而是抓住重點,從投資和產(chǎn)業(yè)鏈的角度對中國動漫產(chǎn)業(yè)進行了更為細致的分析,研究了動漫產(chǎn)業(yè)投資和產(chǎn)業(yè)鏈的問題,分析了動漫產(chǎn)業(yè)的投資特點、產(chǎn)業(yè)鏈構(gòu)成、市場空間和未來發(fā)展趨勢,對我國擴大動漫產(chǎn)業(yè)投資、完善產(chǎn)業(yè)鏈、推進動漫產(chǎn)業(yè)發(fā)展,提出了有針對性的政策建議。 筆者認為,中國動漫產(chǎn)業(yè)發(fā)展模式轉(zhuǎn)型與結(jié)構(gòu)調(diào)整都有賴于改革開放的全面深化。立足“十二五”時期,努力實現(xiàn)從動畫大國到動漫強國的跨越,這要求我們更加關(guān)注效益和效率,而非數(shù)量和速度。為此,筆者建議,要將思路從加快動漫產(chǎn)業(yè)“增長”轉(zhuǎn)到加快動漫產(chǎn)業(yè)“發(fā)展”模式轉(zhuǎn)型上來,從數(shù)量型、速度型、外延式增長轉(zhuǎn)軌到質(zhì)量型、效益型、內(nèi)涵式發(fā)展,從結(jié)構(gòu)調(diào)整中獲得新的發(fā)展動力,全面把握動漫產(chǎn)業(yè)的各個換階段內(nèi)在聯(lián)系,移動慢創(chuàng)意為核心構(gòu)建產(chǎn)業(yè)自我型發(fā)展的內(nèi)生機制和相互支撐的動漫產(chǎn)業(yè)版權(quán)價值鏈,最終實現(xiàn)動漫產(chǎn)業(yè)的全面協(xié)調(diào)可持續(xù)發(fā)展。 由于目前國內(nèi)在動漫產(chǎn)業(yè)投資這一領域的研究較少,資料匱乏,加之筆者理論基礎薄弱,對動漫產(chǎn)業(yè)和動漫產(chǎn)業(yè)投資的相關(guān)知識了解不多,能力和時間都有限,因此,文中對一些問題的論述過于簡單,不夠深入,不夠全面,需要在今后的研究中進一步學習和努力。
[Abstract]:Since the reform and opening up, the animation works not only show the unique charm in the development of the cultural industry in the last ten years, but also the economic benefits it brings, the new type of animation industry chain and the change of operation management, which have played a light weight on the reform and development of the cultural industry. At the same time, the animation industry in China is also active and active. The cultural exchanges between the United States, Japan, Korea and the Hong Kong, Macao and Taiwan areas are closely related to the trend of the development of the world's anime and animation. It reflects the opening of the Chinese animation industry to the outside world and the vigorous pace of comic and comic works in the world.
As a new form of industrial economy, the animation industry in China is still in the development period, it is not mature enough, and there is still a considerable gap compared with the developed countries. Especially, the animation industry is a high investment, high risk industry, and the huge investment scale is not the common enterprise. Secondly, the profit of the animation industry in China. The model is still not mature, most of the animation business is not good, the situation is difficult. This plight of the animation industry leads to a serious shortage of investment, which greatly affects the normal development of the animation industry in China.
In September 2009, the State Council promulgated the plan for the revitalization of cultural industry, which indicates that the development of cultural industry has been promoted to the national strategic height. In the report of the Seventeenth National Congress of the party, the Central Committee has raised the "national culture soft power" to the national strategy, and the construction and development of animation industry has become a socialist culture. In the the sixth Plenary Session of the 17th CPC Central Committee of the Communist Party of China, which was held in October 2011, the goal of the cultural reform and development in 2020 was put forward, and the strategic deployment of the socialist cultural industry and the construction of a cultural power had been made, which opened up a broad prospect for the development of Chinese cultural industry, including the animation industry. The speed of development of cultural industry, the pattern of industry and the trend of development can foresee that the next ten years will be the golden period for the development of Chinese cultural industry, and it is particularly important to grasp the future trend and business opportunities.
At the moment when the international cultural enterprise giants compete in China, the integration, integration and strengthening of the new media enterprises are urgent. In this regard, we must strengthen our country's animation industry investment and financing system, increase the support for investment and financing of the animation industry, and reverse the current backward situation so as to promote China's movement. Therefore, the research on the investment and financing of the animation industry in theory is of great theoretical and practical value to the development of the animation industry in China.
On the basis of the definition and scientific analysis of animation and animation industry, this paper expounds the definition and characteristics of animation industry investment in detail, and combines the development history, characteristics and investment experience of the three powerful animation industries in the United States, Japan and Korea, and analyzes the current situation, the existing problems, the reform and the policy of development. Policy measures.
The full text is divided into four chapters, and the specific contents of each chapter are as follows:
The first chapter, introduction. On the basis of explaining the background of the topic, the theoretical significance and the practical value of the study, this paper introduces the related theories of the development of animation industry, summarizes the status of the research on animation industry at home and abroad, and explains the innovation and deficiency of this article.
The second chapter, the development and characteristics of the foreign animation industry. On the basis of the definition of animation and animation industry, the development of the animation industry in the United States and Japan is discussed respectively. The characteristics and problems of the development are explained.
The third chapter, the investment status and experience of the foreign animation industry. Based on the definition and analysis of the concept and characteristics of the animation industry investment, the investment mechanism of the animation industry in the United States, Japan and Korea is discussed respectively, and the different characteristics of its animation industry investment are explained.
The fourth chapter, the present situation and Prospect of Chinese animation industry. First, the present situation of Chinese animation industry is introduced, the advantages, investment environment and existing problems of Chinese animation industry are analyzed. Secondly, the achievements of "happy sheep and grey wolf" are analyzed and the reasons for success are analyzed. Finally, the future movement of China is analyzed. The prospects of the industry are also presented and some countermeasures and suggestions for promoting the development of the animation industry are put forward.
In the process of research and writing, the author does not fully explore the problems arising from the various links of the animation industry, but holds the focus, and makes a more detailed analysis of the Chinese animation industry from the perspective of investment and industry chain, studies the problems of the investment and industrial chain of the animation industry, and analyzes the investment characteristics of the animation industry. The structure of industry chain, market space and future development trend have put forward some pertinent policy suggestions to expand the investment of animation industry, improve the industrial chain and promote the development of animation industry.
The author believes that the transformation and structural adjustment of the Chinese animation industry development mode depend on the comprehensive deepening of the reform and opening up. Based on the "12th Five-Year" period, we should strive to realize the leap from the animation power to the powerful animation power, which requires us to pay more attention to the efficiency and efficiency, not the quantity and speed. Therefore, the author suggests that the idea should be taken from the acceleration of animation production. The "growth" to accelerate the "development" mode of the animation industry, from the quantitative, speed, epitaxial growth to quality, benefit, connotation development, from the structural adjustment to get a new development motivation, to grasp the animation industry in the various phases of the link, the movement slow creativity as the core to build industrial self type hair The endogenetic mechanism and the supporting value chain of animation industry will finally achieve the comprehensive coordinated and sustainable development of the animation industry.
Due to the lack of research in the field of domestic animation industry, the lack of data, and the weak theoretical foundation of the author, the knowledge about the animation industry and the animation industry is limited, so the ability and time are limited. Therefore, the discussion of some problems is too simple, not thorough enough, not comprehensive, and needs to be studied in the future. Further study and effort in the study.

【學位授予單位】：東北財經(jīng)大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：F719

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