本文選題：動漫 + 原創(chuàng)力�。� 參考：《重慶大學(xué)》2011年碩士論文

【摘要】：動畫這一充滿神奇色彩的藝術(shù)表現(xiàn)形式可以追溯到遠(yuǎn)古,而動畫片的誕生至今已歷百年�；仡欀袊鴦勇l(fā)展的歷史,從1926年至今中國動畫走過了八十多年的發(fā)展歷程,經(jīng)歷了探索和短暫的輝煌,再到今日的彷徨,特別是近些年美日動漫在我國動漫市場走俏,反觀我國的動漫領(lǐng)域,盡管有政府政策的激勵和支持、源遠(yuǎn)流長的文化資源、博大精深的藝術(shù)底蘊(yùn),然而,卻未能創(chuàng)制出適應(yīng)廣大中國受眾需要的民族化動漫,不能滿足廣大人民群眾的文化需求。有鑒于此,開展民族化動漫的深入研究就成為發(fā)展繁榮我國民族化文化產(chǎn)業(yè)的重要課題。統(tǒng)計表明,中國動漫的低迷是眾多癥結(jié)綜合作用的結(jié)果,其中主要核心問題就是對受眾需求和心理機(jī)制把握不夠精準(zhǔn),未搭建起民族化動漫的原創(chuàng)力的提升與受眾心理機(jī)制之間的互動橋梁。 動漫具有美術(shù)性、敘事性和幻想等特征,受眾在欣賞動漫作品的過程中具有一些特殊的心理機(jī)制,只有按照受眾的心理機(jī)制來創(chuàng)作腳本、設(shè)計動畫角色,才能吻合受眾的期待視野、民族文化心理與審美,才能真正提升中國動漫的原創(chuàng)力,并以此來推動完整動漫產(chǎn)業(yè)鏈的構(gòu)建甚至整個動漫產(chǎn)業(yè)的發(fā)展。五千年的中國傳統(tǒng)文化可以為中國動漫產(chǎn)業(yè)的發(fā)展提供豐富的可用資源,既要堅持和弘揚(yáng)民族文化的傳統(tǒng),又要不斷使歷史的傳統(tǒng)富于新的時代內(nèi)涵,將傳統(tǒng)文化和民族精神有機(jī)融合在動畫作品中,才能創(chuàng)作出符合受眾心理機(jī)制的作品,并適當(dāng)?shù)募せ詈鸵龑?dǎo)受眾的需求,吸引受眾持續(xù)地關(guān)注和消費(fèi)動漫及其衍生產(chǎn)品。 本文歸納分析動漫受眾心理機(jī)制的五要素,從人類童年的幻想人格、審美趨向的形成、民族文化的積淀、時代精神和人類精神的塑造入手,反思如何通過精準(zhǔn)地掌握受眾的需求和心理機(jī)制,來進(jìn)行劇本的創(chuàng)作、角色性格設(shè)計、造型設(shè)計等,希圖通過探求美、日動漫強(qiáng)國的成功經(jīng)驗,以此來指導(dǎo)中國動漫民族化發(fā)展之路,找出民族化中國動漫原創(chuàng)力不足癥結(jié)所在,以探求中國動漫民族化的發(fā)展方向,進(jìn)而提出了促進(jìn)中國民族化動漫產(chǎn)業(yè)發(fā)展與繁榮的對策與建議。第一,將傳統(tǒng)與創(chuàng)新相結(jié)合,在創(chuàng)作中廣泛汲取傳統(tǒng)文化的精華,以不同學(xué)科、不同藝術(shù)門類、不同技術(shù)表現(xiàn)手段、不同思維形態(tài)的重構(gòu)作為有效的創(chuàng)新;第二,重視民族性與世界性的共存性和包容性,將傳統(tǒng)文化和異國文化在外在形式和內(nèi)涵精神上進(jìn)行重構(gòu)與整合;第三,全齡化的定位與衍生產(chǎn)品開發(fā)的整合,形成從前期創(chuàng)意研究、受眾定位到后期衍生產(chǎn)品的開發(fā)相互統(tǒng)一的制作模式。
[Abstract]:Animation, a form of artistic expression full of magical colors, can be traced back to ancient times, and the birth of animation has been a hundred years. Looking back on the history of the development of Chinese animation, Chinese animation has gone through more than 80 years of development from 1926 to now, has experienced exploration and brief brilliance, and then to today's loss, especially in recent years, the United States and Japan animation in our country animation market popularity, Looking back at the animation field of our country, despite the encouragement and support of government policies, the long history of cultural resources and the extensive and profound artistic background, however, it has failed to create a nationalized animation to meet the needs of the broad Chinese audience. Unable to meet the cultural needs of the broad masses of the people. In view of this, it becomes an important subject for the development and prosperity of nationalized cultural industry to carry out in-depth research on nationalized animation. Statistics show that the downturn of Chinese animation is the result of the comprehensive effect of many sticking points, among which the main core problem is that the audience needs and psychological mechanism is not accurate enough. Did not build up the original power of the national animation and audience psychological mechanism between the interactive bridge. Animation has the characteristics of fine arts, narration and fantasy. The audience has some special psychological mechanism in the process of appreciating the animation works. Only according to the psychological mechanism of the audience to create scripts, design animation characters, Only in line with the expectation of the audience, national cultural psychology and aesthetics, can we really enhance the originality of Chinese animation, and thus promote the construction of the complete animation industry chain and even the development of the whole animation industry. Five thousand years of Chinese traditional culture can provide rich and available resources for the development of China's animation industry. It is necessary to uphold and carry forward the tradition of national culture and constantly enrich the historical tradition with a new connotation of the times. Only by integrating traditional culture and national spirit in animation works can we create works that accord with the psychological mechanism of the audience, and properly activate and guide the needs of the audience, and attract the audience to continue to pay attention to and consume animation and its derivative products. This paper summarizes and analyzes the five elements of the psychological mechanism of anime audience, starting with the fantasy personality of human childhood, the formation of aesthetic trend, the accumulation of national culture, and the shaping of the spirit of the times and the human spirit. Reflect on how to accurately grasp the audience's needs and psychological mechanism, to create the script, character design, modeling design, hoping to explore the United States, Japan's animation power's successful experience, In order to guide the development of Chinese animation nationalization, find out the crux of the lack of originality of Chinese animation, in order to explore the development direction of Chinese animation nationalization. Then put forward the countermeasures and suggestions to promote the development and prosperity of China's nationalized animation industry. First, combine tradition with innovation, absorb the essence of traditional culture extensively in the creation, take the reconstruction of different disciplines, different artistic categories, different technical expression means and different thinking forms as effective innovation; second, Attach importance to the coexistence and inclusiveness of nationality and the world, reconstruct and integrate the traditional culture and foreign culture in the external form and intension spirit; third, the orientation of the whole age and the integration of the derivative product development, form the creative research from the early stage. The audience orientates to the later stage derivative product development mutually unifies the production pattern.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J954

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 陳亞琦;手辦玩偶的移情設(shè)計[D];華中師范大學(xué);2013年

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本文編號：2079772