本文選題：美學(xué)特性 + 電影思維��； 參考：《武漢理工大學(xué)》2006年碩士論文

【摘要】：隨著科學(xué)技術(shù)的迅速發(fā)展,動(dòng)畫從最初的實(shí)驗(yàn)性產(chǎn)物逐步成為了大眾化產(chǎn)業(yè)。如今,動(dòng)畫一詞已經(jīng)大大超出了其原有的含意,越來越廣泛地滲透到人們的生活之中,并過渡到商業(yè)化階段。 在當(dāng)今“全球化”已逐漸成為世界各國經(jīng)濟(jì)、文化、社會(huì)發(fā)展的共同背景下,動(dòng)畫片呈現(xiàn)了商業(yè)動(dòng)畫(主流動(dòng)畫)與藝術(shù)動(dòng)畫(非主流動(dòng)畫)的分野,而商業(yè)動(dòng)畫片特別是影院動(dòng)畫片,隨著動(dòng)畫技術(shù)的成熟,現(xiàn)代科學(xué)技術(shù)的發(fā)展為其不斷注入新的活力,逐漸處于動(dòng)畫業(yè)的龍頭位置。各國的影視制作行業(yè)都紛紛開始把目光轉(zhuǎn)移到動(dòng)畫這一具有巨大潛力的市場(chǎng)上來。美國與日本現(xiàn)已成為了兩大動(dòng)畫生產(chǎn)國。他們的動(dòng)畫影片與相關(guān)的動(dòng)漫周邊產(chǎn)品,為其本國帶來了巨大的商業(yè)經(jīng)濟(jì)效益。 而我國的商業(yè)動(dòng)畫與藝術(shù)動(dòng)畫在上個(gè)世紀(jì)六、七十年代曾一度輝煌,如影院動(dòng)畫片《大鬧天宮》(張光宇造型)的京劇風(fēng)格,《哪吒鬧海》(張仃)造型的年畫風(fēng)格;藝術(shù)動(dòng)畫片中更有具創(chuàng)造、發(fā)明意義的水墨動(dòng)畫《小蝌蚪找媽媽》、《牧笛》、《鹿鈴》、《山水情》等,形成了自己的一些優(yōu)秀傳統(tǒng),也積累出了一定的民族特色,奠定了“中國學(xué)派”的堅(jiān)實(shí)基礎(chǔ)。但是在如今商業(yè)動(dòng)畫處于龍頭位置的形勢(shì)下,我國的商業(yè)動(dòng)畫片,無論是影院動(dòng)畫還是電視動(dòng)畫都無法與外片抗衡,更不用說登陸海外市場(chǎng)。 本文主要對(duì)動(dòng)畫影片中的影視性包括動(dòng)畫的影視美學(xué)特性、動(dòng)畫片中的電影思維方式、動(dòng)畫片中的鏡頭運(yùn)用進(jìn)行研究分析,并結(jié)合國際國內(nèi)優(yōu)秀的動(dòng)畫影片進(jìn)行分析,闡述影視性在動(dòng)畫中的重要性。 動(dòng)畫中對(duì)電影思維的運(yùn)用,不僅影響著動(dòng)畫的吸引力和可觀賞性,而且在很大程度上決定著一部動(dòng)畫片的藝術(shù)質(zhì)量,決定著動(dòng)畫創(chuàng)作藝術(shù)上的成敗。因此,一部動(dòng)畫影片要想獲得成功,必須重視影視性,將電影思維融入動(dòng)畫影片的創(chuàng)作中。
[Abstract]:With the rapid development of science and technology, animation has gradually become a popular industry from the original experimental products. Nowadays, the term animation has gone far beyond its original meaning, and has been more and more widely infiltrated into people's lives, and the transition to the stage of commercialization. In today's "globalization" has gradually become the common background of the economic, cultural and social development of all countries in the world, animation presents a distinction between commercial animation (mainstream animation) and art animation (non-mainstream animation). With the maturity of animation technology and the development of modern science and technology, commercial animation, especially cinema animation, has been continuously injected into new vitality and gradually in the leading position of animation industry. All over the world, the film and television production industry has begun to focus on animation, which has great potential in the market. The United States and Japan are now two major animation producers. Their animation film and related animation peripheral products, for their own country has brought huge commercial economic benefits. The commercial animation and art animation of our country were once brilliant in the sixties and seventies of last century, such as the Beijing opera style of the theater cartoon "making a scene of Heaven Palace" (Zhang Guangyu's modeling) and the style of "Nezha" (Zhang Ding) style of New year's pictures; There are even more creative, invention-meaning water- ink animations "Little tadpoles looking for Mom", "Pastor", "Deer Bell", "Mountain and Water situation" and so on, which have formed some excellent traditions of their own and accumulated certain national characteristics. It laid a solid foundation for the Chinese School. However, under the situation that commercial animation is in the leading position, the commercial animation of our country, no matter the movie theater animation or the television animation can not compete with the foreign film, not to mention the landing overseas market. This article mainly studies the film and television in the animation film, including the movie esthetics characteristic of the animation, the movie thinking mode in the cartoon film, the lens application in the cartoon film, and carries on the analysis combining the international and the domestic outstanding animation film. This paper expounds the importance of film and television in animation. The application of film thinking in animation not only affects the attraction and appreciation of animation, but also determines to a great extent the artistic quality of an animated film and the success or failure of animation creation art. Therefore, if an animated film wants to succeed, it must attach importance to film and television, and integrate film thinking into the creation of animation film.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J954

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 羅天昱;鐘遠(yuǎn)波;;解析好萊塢《功夫熊貓》對(duì)中國元素的多方位演繹[J];電影評(píng)介;2008年19期

相關(guān)博士學(xué)位論文 前1條

1 李濤;美、日百年動(dòng)畫形象研究[D];四川大學(xué);2007年

相關(guān)碩士學(xué)位論文 前7條

1 張禮堅(jiān);漫畫符號(hào)和漫畫視框在動(dòng)畫中的運(yùn)用研究[D];湖南工業(yè)大學(xué);2010年

2 鐘萍;基于SVG技術(shù)人物動(dòng)畫課件生成系統(tǒng)的設(shè)計(jì)與應(yīng)用[D];南昌大學(xué);2010年

3 彭建祥;動(dòng)畫電影藝術(shù)創(chuàng)作素材的再挖掘與整合研究[D];湖南工業(yè)大學(xué);2008年

4 谷芳;大友克洋動(dòng)畫電影藝術(shù)特征研究[D];湖南工業(yè)大學(xué);2009年

5 王旭軍;視頻場(chǎng)景分割方法研究[D];重慶大學(xué);2010年

6 仝琳;論攝影技術(shù)在動(dòng)畫制作中的重要作用[D];山東師范大學(xué);2010年

7 牟堂娟;動(dòng)畫片中的鏡頭調(diào)度研究[D];山東工藝美術(shù)學(xué)院;2012年

，

本文編號(hào)：2014072