發(fā)布時(shí)間：2018-05-29 22:27

  本文選題：獨(dú)立動(dòng)畫人 + 生存狀態(tài)��； 參考：《復(fù)旦大學(xué)》2012年碩士論文

【摘要】：2008年至今,中國(guó)的互聯(lián)網(wǎng)上逐漸涌現(xiàn)一批優(yōu)秀的原創(chuàng)獨(dú)立動(dòng)畫作品,風(fēng)格獨(dú)特,構(gòu)思精妙,想象豐富,作者活躍的創(chuàng)作力、潛在的獲獎(jiǎng)實(shí)力獲得眾多網(wǎng)友的追捧以及媒體的熱議,點(diǎn)擊率達(dá)到數(shù)十萬(wàn)甚至上百萬(wàn),彰顯著獨(dú)立動(dòng)畫正從曾經(jīng)邊緣化、小眾化的個(gè)人創(chuàng)作,因互聯(lián)網(wǎng)的發(fā)展,日趨綻放勃勃生機(jī),一些作者在公眾中,已然逐漸具有知名度和影響力。 獨(dú)立動(dòng)畫作為動(dòng)畫產(chǎn)業(yè)中不可或缺的一個(gè)有機(jī)組成部分,是中國(guó)獨(dú)立視覺影像制作人深刻思考和辛勤創(chuàng)作的成果,他們對(duì)于內(nèi)容和技法創(chuàng)新的探索,一直是內(nèi)容產(chǎn)業(yè)創(chuàng)意創(chuàng)新的源泉。然而事實(shí)上,獨(dú)立動(dòng)畫作者群體目前仍然處在我國(guó)動(dòng)漫產(chǎn)業(yè)的邊緣,在商業(yè)動(dòng)畫侵襲的中國(guó)動(dòng)漫產(chǎn)業(yè)之中,大部分原創(chuàng)獨(dú)立動(dòng)畫作者的生存與創(chuàng)作究竟是怎樣的狀態(tài),在學(xué)界與業(yè)界的研究中仍屬空白,非常值得探尋。 因此,本文將研究視點(diǎn)投向了中國(guó)獨(dú)立動(dòng)畫人這一小眾并分散的群體,并聚焦他們與網(wǎng)絡(luò)播出平臺(tái)之間的聯(lián)結(jié),以及雙方對(duì)于作品推廣模式的新的嘗試。文章開篇將對(duì)于獨(dú)立動(dòng)畫和生存狀態(tài)進(jìn)行定義,介紹國(guó)內(nèi)外獨(dú)立動(dòng)畫的發(fā)展歷程與現(xiàn)狀,剖析獨(dú)立動(dòng)畫與商業(yè)動(dòng)畫交融發(fā)展的趨勢(shì)。第二部分通過(guò)問(wèn)卷調(diào)查訪談,探索獨(dú)立動(dòng)畫作者的人口統(tǒng)計(jì)學(xué)特征、生存狀態(tài)以及創(chuàng)作狀態(tài),并于第三部分挖掘獨(dú)立動(dòng)畫作者的作品與網(wǎng)絡(luò)等新媒體傳播平臺(tái)的互動(dòng),以探索互聯(lián)網(wǎng)視頻發(fā)布平臺(tái)對(duì)于作者提供的機(jī)遇與挑戰(zhàn)、對(duì)于動(dòng)畫作者生存條件和創(chuàng)作狀態(tài)的改變,總結(jié)獨(dú)立動(dòng)畫作品進(jìn)一步開發(fā)推廣的新模式,而這些都直接關(guān)系著獨(dú)立動(dòng)畫群體作為小眾、實(shí)驗(yàn)性的藝術(shù)創(chuàng)新人群,能否在新媒體蓬勃發(fā)展的當(dāng)下,長(zhǎng)久可持續(xù)地發(fā)展與創(chuàng)作。 其中,土豆網(wǎng)主辦的“十豆映像節(jié)”,是國(guó)內(nèi)網(wǎng)絡(luò)原創(chuàng)影展的代表,本文希冀通過(guò)描述獨(dú)立動(dòng)畫作者,挖掘原創(chuàng)作品與以土豆網(wǎng)為代表的新媒體傳播平臺(tái)運(yùn)作結(jié)合的渠道,探明網(wǎng)絡(luò)播放平臺(tái)作為獨(dú)立動(dòng)畫推廣發(fā)布的中心點(diǎn),在連結(jié)動(dòng)畫創(chuàng)作者、后續(xù)的作品開發(fā),以及作者培養(yǎng)中的作用,并試圖為國(guó)產(chǎn)動(dòng)畫的發(fā)展建言獻(xiàn)策,建言保護(hù)獨(dú)立動(dòng)畫作者的生存渠道和發(fā)聲渠道,加強(qiáng)對(duì)獨(dú)立動(dòng)畫作者及其作品的扶持,創(chuàng)造良好的政策環(huán)境,挖掘培育人才,保護(hù)版權(quán),為我國(guó)國(guó)產(chǎn)動(dòng)畫內(nèi)容、技法的豐富,可持續(xù)發(fā)展與創(chuàng)新提供不竭動(dòng)力。
[Abstract]:Since 2008, a number of outstanding original and independent animation works have emerged on the Internet in China, with unique style, ingenious conception, rich imagination and active creative power of the author. The potential award winning strength has been sought after by many netizens as well as by the media. The click rate has reached hundreds of thousands or even more than one million, demonstrating the fact that independent animation is moving from a once marginalized, minority individual creation due to the development of the Internet. Growing vitality, some authors in the public, has gradually become well-known and influential. As an integral part of the animation industry, independent animation is the result of deep thinking and hard work by independent visual image producers in China. Content industry has been the source of creative innovation. However, in fact, the group of independent animators is still on the edge of the animation industry in our country at present. In the commercial animation industry of China, the existence and creation of most of the original independent animation authors is exactly what kind of state. In the academic and industry research is still blank, very worth exploring. Therefore, this paper focuses on the Chinese independent animators, a small and scattered group, and focuses on their connection with the network broadcasting platform, as well as the new attempts of both sides on the work promotion model. At the beginning of the article, we will define the independent animation and the living state, introduce the development course and present situation of the independent animation at home and abroad, and analyze the development trend of the blend of the independent animation and the commercial animation. The second part explores the demographic characteristics, living state and creation state of independent animators through questionnaire interviews, and excavates the interaction between independent animators' works and new media communication platforms such as network in the third part. In order to explore the opportunities and challenges provided by the Internet video publishing platform for the author, to change the living conditions and creation state of animation authors, and to summarize the new model of further development and promotion of independent animation works, These are directly related to the independent animation group as a minority, experimental artistic innovation group, whether in the new media booming in the present, long-term sustainable development and creation. Among them, Tudou net hosted the "Ten Dou Mapping Festival", which is the representative of the domestic Internet original Film Festival. This paper hopes to explore the channels of combining original works with the operation of the new media communication platform represented by Tudou net by describing independent animation authors. To find out the role of the network playing platform as the central point of independent animation promotion and release, to link animation creators, to develop subsequent works, and to cultivate authors, and to provide suggestions for the development of domestic animations. Suggestions protect the survival and vocal channels of independent animation authors, strengthen the support for independent animation authors and their works, create a good policy environment, excavate and cultivate talents, protect copyright, and enrich the content and techniques of domestic animation in China. Sustainable development and innovation provide inexhaustible power.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J218.7

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