本文選題：動畫 + 節(jié)奏�。� 參考：《西安理工大學(xué)》2010年碩士論文

【摘要】： 動畫這種最直接,最生動,最綜合的表現(xiàn)手法理所當(dāng)然的得到人們的重視。可回觀我國動畫市場之現(xiàn)狀卻叫人擔(dān)憂,數(shù)量極少且普遍題材范圍狹小,觀眾低齡化,制作水平低下等等。針對這些問題,《三個和尚》作為中國優(yōu)秀的傳統(tǒng)動畫片,在故事內(nèi)涵,造型設(shè)計,色彩搭配及鏡頭運用和音樂搭配上都堪稱經(jīng)典。尤其在動畫節(jié)奏的整體運用上,有許多值得我們借鑒的地方。 節(jié)奏對于一部動畫片的成敗是至關(guān)重要的。本文將通過大量閱讀關(guān)于《三個和尚》的背景和當(dāng)時設(shè)計的相關(guān)資料,了解他們的動畫制作理念。并且,對角色造型及其動作速度的快慢、各環(huán)節(jié)主次強(qiáng)弱的變化、色彩配置和鏡頭切換等方面進(jìn)行的研究與分析,運用分析法、比較法和圖例法,深入剖析影片劇情,故事風(fēng)格,角色和場景造型,鏡頭運用及主體動作和音樂各自的節(jié)奏特點,并且通過例證法找到影片各元素之間的節(jié)奏契合點,總結(jié)出各自在整個影片節(jié)奏中的關(guān)系和作用。在這個基礎(chǔ)上再參閱大量文獻(xiàn),系統(tǒng)學(xué)習(xí)研究關(guān)于節(jié)奏和動畫節(jié)奏的理論知識,對本課題有關(guān)的初始資料,加以收集、整理,從而總結(jié)出《三個和尚》中所潛藏的動漫節(jié)奏規(guī)律。 文中通過列舉了大量的動畫實例,分析了在不同風(fēng)格類型動畫上的節(jié)奏特點,找到今后國產(chǎn)動畫制作中需要借鑒之處,最終找到動畫中內(nèi)外節(jié)奏的關(guān)系處理方法。通過運用動畫中的這種節(jié)奏規(guī)律結(jié)合中國深厚的傳統(tǒng)文化背景,并且把這種優(yōu)秀的動畫影片節(jié)奏規(guī)律進(jìn)行再提高和再創(chuàng)新。期望為中國文化特色的動畫設(shè)計與發(fā)展提供一種思路。
[Abstract]:Animation is the most direct, the most vivid, the most comprehensive expression of course by people's attention. However, the present situation of animation market in China is worrying, with a small number and narrow range of common subjects, low age of audience, low production level and so on. In order to solve these problems, the three monks, as an excellent traditional cartoon in China, can be regarded as classic in the aspects of story connotation, styling design, collocation of color, use of lens and music. Especially in the whole use of animation rhythm, there are many worthy of our reference. Rhythm is crucial to the success or failure of an animated film. This article will read a lot about the background of the three monks and the relevant materials of the design at that time to understand their animation ideas. In addition, the research and analysis of the character modeling and the speed of action, the changes of the main and secondary strength of each link, the coloring configuration and the lens switching, etc., using the analysis method, the comparison method and the legend method, deeply analyze the film plot. The story style, character and scene modeling, the use of lens and the rhythmic characteristics of the main action and music, and through illustrative method to find out the rhythm of the elements of the film, summed up the relationship and role of each in the whole film rhythm. On this basis, we will refer to a large number of documents, systematically study and study the theoretical knowledge of rhythm and animation rhythm, collect and organize the initial data related to this subject. Thus summed up the "three monks" hidden in the rhythm of animation laws. Through enumerating a large number of animation examples, this paper analyzes the characteristics of rhythm in different styles of animation, finds out what needs to be used for reference in the production of domestic animation in the future, and finally finds out the relationship between internal and external rhythm in animation. Through the use of this rhythm in animation combined with China's deep traditional cultural background, and this excellent animation film rhythm law to further improve and re-innovation. It is expected to provide a way of thinking for the design and development of animation with Chinese cultural characteristics.
【學(xué)位授予單位】：西安理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J954

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 趙虎群;;動畫教學(xué)中的節(jié)奏意識培養(yǎng)[J];華中師范大學(xué)學(xué)報(人文社會科學(xué)版);2013年S3期

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本文編號：2027267