比利時(shí)漫畫發(fā)展脈絡(luò)及啟示
發(fā)布時(shí)間：2018-08-23 10:51
【摘要】：本文將研究視角投向了國內(nèi)動(dòng)漫研究的空白點(diǎn)——?dú)W洲漫畫,并聚焦因《丁丁歷險(xiǎn)記》和《藍(lán)精靈》而在世界范圍具有影響力、在歐洲漫畫史上占重要地位的比利時(shí)現(xiàn)代漫畫,梳理其歷史,展現(xiàn)其生態(tài),闡述其給予中國漫畫的啟示。 本研究梳理了比利時(shí)現(xiàn)代漫畫由政治諷刺漫畫出現(xiàn)、到連環(huán)漫畫崛起、再到《丁丁》、《斯皮魯》漫面雜志為核心的連環(huán)畫出版業(yè)盛況、繼而成人漫畫興起,卻遭遇日本漫畫沖擊、漫畫雜志消失陷入冷靜期、但目前逐漸復(fù)蘇并平穩(wěn)發(fā)展的發(fā)展歷程,并在每一時(shí)期中歸納各時(shí)期的繪畫藝術(shù)流變和漫畫出版發(fā)展情況,重點(diǎn)介紹了“馬齊耐爾學(xué)派”和“清線畫派”兩大漫畫風(fēng)格流派,和“先刊后書”出版模式的興起與衰落,以及漫迷在豐富出版形態(tài)、促進(jìn)展會(huì)事業(yè)和漫畫研究中所發(fā)揮的重要作用。 在梳理歷史的基礎(chǔ)上,本文跳出就產(chǎn)業(yè)論產(chǎn)業(yè)的固有思維模式,以媒介生態(tài)學(xué)的全新視閡審視比利時(shí)漫畫產(chǎn)業(yè),將其環(huán)境分成三個(gè)生態(tài)圈：一是以藝術(shù)屬性、符號(hào)特征構(gòu)成內(nèi)容生態(tài),分析比利時(shí)漫畫的“去民族化”表征和語言幽默、線條簡潔的藝術(shù)指針；二是漫畫與人構(gòu)成的人力生態(tài)、受眾生態(tài),漫畫與社會(huì)構(gòu)成的政策生態(tài)、經(jīng)濟(jì)生態(tài),并將之作為中觀生態(tài)圈,解析比利時(shí)漫畫受眾良性循環(huán)、出版商市場化運(yùn)作等產(chǎn)業(yè)規(guī)律；三是將歐洲乃至全球的漫畫產(chǎn)業(yè)環(huán)境作為外觀生態(tài)圈,探析日美漫畫對(duì)漫畫風(fēng)格、出版格局的影響；并針對(duì)漫畫文化在三層生態(tài)圈層互動(dòng)的傳播行為,考察基于技術(shù)變革的產(chǎn)品生態(tài)鏈和基于形象符號(hào)的對(duì)外傳播,闡述比利時(shí)漫畫產(chǎn)業(yè)中產(chǎn)品開發(fā)生態(tài)鏈和產(chǎn)生產(chǎn)業(yè)聯(lián)動(dòng)效益的文化輻射,勾連漫畫媒介各要素與國家、社會(huì)文化影響力,歸納出比利時(shí)以漫畫作為“國家名片”的“生態(tài)位”,從而折射漫畫產(chǎn)業(yè)與文化軟實(shí)力的關(guān)系。 本研究進(jìn)而以中國與比利時(shí)漫畫產(chǎn)業(yè)發(fā)展的相似性為前提,本文認(rèn)為比利時(shí)漫畫產(chǎn)業(yè)的良性生態(tài)為中國動(dòng)漫產(chǎn)業(yè)發(fā)展提供了一個(gè)跨國圖景。以比利時(shí)漫畫產(chǎn)業(yè)的成功經(jīng)驗(yàn)為鏡,中國漫畫產(chǎn)業(yè)在發(fā)展過程中應(yīng)該對(duì)產(chǎn)業(yè)生態(tài)實(shí)行全面考量,重視內(nèi)容、人力、受眾、產(chǎn)品、投資、政策扶持等多個(gè)因子,在文化傳播中著重于打響品牌,內(nèi)容創(chuàng)新中注重民族元素的運(yùn)用,并以會(huì)展、旅游拉動(dòng)產(chǎn)業(yè)聯(lián)合,找準(zhǔn)中國漫畫產(chǎn)業(yè)自己的“生態(tài)位”,以“大動(dòng)漫”概念建設(shè)中國漫畫產(chǎn)業(yè)理論體系,搭建中國特色的“產(chǎn)業(yè)生態(tài)鏈”,實(shí)現(xiàn)中國動(dòng)漫產(chǎn)業(yè)的科學(xué)發(fā)展。
[Abstract]:This article puts the research angle of view to the blank spot of domestic animation research-European comics, and focuses on Belgian modern comics, which are influential in the world because of "Tintin" and "Smurfs", and which play an important role in the history of European comics. Combing its history, showing its ecology, expounding its enlightenment to Chinese comics. This study combed the emergence of modern Belgian comics from political caricatures, to the rise of comic strips, to the prosperity of comic book publishing at the core of "Tintin" and "Spearu", and then to the rise of adult comics, but suffered the impact of Japanese comics. Comic magazine disappeared into a cooling-off period, but at present it is gradually recovering and developing smoothly. In each period, it sums up the evolution of painting art and the development of comic book publishing in each period. This paper focuses on the rise and decline of the two major comic style schools of "Marchinaire School" and "Qing Line painting School", and the rise and decline of the publishing mode of "first publication and later Books", as well as the rich publishing form of the fans. To promote the exhibition and comic research play an important role. On the basis of combing history, this paper jumps out of the inherent thinking mode of industry theory on industry, examines Belgian cartoon industry with the brand new view barrier of media ecology, and divides its environment into three ecosphere: one is artistic attribute, The symbolic features constitute the ecology of content, the analysis of the representation of "de-nationalization" of Belgian comics, the humor of language, the artistic pointers of concise lines, the human ecology of comics and human beings, the ecology of audience, the policy ecology of comics and society, Economic ecology, and take it as a mesoscopic ecological circle, to analyze the benign circle of Belgian comic book audiences, the market-oriented operation of publishers and other industrial laws; third, to take the cartoon industry environment in Europe and even the world as the external ecological circle. This paper probes into the influence of Japanese and American comics on the style and publishing pattern of comics, and investigates the product ecological chain based on technological change and the external communication based on image symbols in view of the interactive communication behavior of cartoon culture in the three ecosphere layers. This paper expounds the cultural radiation of the ecological chain of product development and the effect of industrial linkage in Belgium's comic book industry, links all elements of comic media with the country, and social and cultural influence, and sums up the "niche" of Belgium in which comics are regarded as "national business cards". This reflects the relationship between comic book industry and cultural soft power. On the premise of the similarity between the development of comics industry in China and Belgium, this paper holds that the benign ecology of the comics industry in Belgium provides a transnational prospect for the development of the animation industry in China. In the light of the successful experience of Belgium's comic book industry, China's comic book industry should comprehensively consider the industrial ecology in the course of its development, and attach importance to a number of factors, such as content, manpower, audience, products, investment, policy support, and so on. Emphasis is placed on creating brands in cultural communication, and emphasis on the use of national elements in content innovation, and the use of exhibition and tourism to pull the industry together to find out the "niche" of China's comic book industry. The concept of "big animation" is used to construct the theoretical system of Chinese cartoon industry, to build the "industrial ecological chain" with Chinese characteristics, and to realize the scientific development of China's animation industry.
【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】：2011
【分類號(hào)】：J218.2
本文編號(hào)：2198858
[Abstract]:This article puts the research angle of view to the blank spot of domestic animation research-European comics, and focuses on Belgian modern comics, which are influential in the world because of "Tintin" and "Smurfs", and which play an important role in the history of European comics. Combing its history, showing its ecology, expounding its enlightenment to Chinese comics. This study combed the emergence of modern Belgian comics from political caricatures, to the rise of comic strips, to the prosperity of comic book publishing at the core of "Tintin" and "Spearu", and then to the rise of adult comics, but suffered the impact of Japanese comics. Comic magazine disappeared into a cooling-off period, but at present it is gradually recovering and developing smoothly. In each period, it sums up the evolution of painting art and the development of comic book publishing in each period. This paper focuses on the rise and decline of the two major comic style schools of "Marchinaire School" and "Qing Line painting School", and the rise and decline of the publishing mode of "first publication and later Books", as well as the rich publishing form of the fans. To promote the exhibition and comic research play an important role. On the basis of combing history, this paper jumps out of the inherent thinking mode of industry theory on industry, examines Belgian cartoon industry with the brand new view barrier of media ecology, and divides its environment into three ecosphere: one is artistic attribute, The symbolic features constitute the ecology of content, the analysis of the representation of "de-nationalization" of Belgian comics, the humor of language, the artistic pointers of concise lines, the human ecology of comics and human beings, the ecology of audience, the policy ecology of comics and society, Economic ecology, and take it as a mesoscopic ecological circle, to analyze the benign circle of Belgian comic book audiences, the market-oriented operation of publishers and other industrial laws; third, to take the cartoon industry environment in Europe and even the world as the external ecological circle. This paper probes into the influence of Japanese and American comics on the style and publishing pattern of comics, and investigates the product ecological chain based on technological change and the external communication based on image symbols in view of the interactive communication behavior of cartoon culture in the three ecosphere layers. This paper expounds the cultural radiation of the ecological chain of product development and the effect of industrial linkage in Belgium's comic book industry, links all elements of comic media with the country, and social and cultural influence, and sums up the "niche" of Belgium in which comics are regarded as "national business cards". This reflects the relationship between comic book industry and cultural soft power. On the premise of the similarity between the development of comics industry in China and Belgium, this paper holds that the benign ecology of the comics industry in Belgium provides a transnational prospect for the development of the animation industry in China. In the light of the successful experience of Belgium's comic book industry, China's comic book industry should comprehensively consider the industrial ecology in the course of its development, and attach importance to a number of factors, such as content, manpower, audience, products, investment, policy support, and so on. Emphasis is placed on creating brands in cultural communication, and emphasis on the use of national elements in content innovation, and the use of exhibition and tourism to pull the industry together to find out the "niche" of China's comic book industry. The concept of "big animation" is used to construct the theoretical system of Chinese cartoon industry, to build the "industrial ecological chain" with Chinese characteristics, and to realize the scientific development of China's animation industry.
【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】：2011
【分類號(hào)】：J218.2
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 陳強(qiáng);;“蘇南動(dòng)漫模式”的喜與憂[J];出版參考;2006年15期
2 ;他山之石:析美日韓動(dòng)漫產(chǎn)業(yè)模式[J];出版廣角;2005年08期
3 方成;;漫畫與動(dòng)漫[J];當(dāng)代傳播;2006年05期
4 劉來;從電影《花木蘭》談文化轉(zhuǎn)換理論──文化全球化與本土化[J];電影藝術(shù);2001年02期
5 彭少健;王天德;;動(dòng)畫原創(chuàng)與產(chǎn)業(yè)鏈開發(fā)——“2006中國國際動(dòng)漫產(chǎn)業(yè)高峰論壇”綜述[J];中國廣播電視學(xué)刊;2006年06期
6 王國慶;;軟實(shí)力的培育運(yùn)用與中國國家形象的提升[J];中國廣播電視學(xué)刊;2007年03期
7 趙小波;;另辟蹊徑:歐洲動(dòng)漫傳播模式[J];中國廣播電視學(xué)刊;2008年11期
8 趙凌;心單;;法國漫畫[J];大美術(shù);2007年04期
9 弓戈;;漫畫背后的中國人 張充仁和《丁丁歷險(xiǎn)記》[J];國際服裝動(dòng)態(tài);2005年02期
10 梅珞;世界報(bào)刊漫畫史(續(xù))[J];國際新聞界;1986年02期
相關(guān)重要報(bào)紙文章 前1條
1 本報(bào)駐布魯塞爾記者 孫健;[N];經(jīng)濟(jì)日?qǐng)?bào);2009年
相關(guān)博士學(xué)位論文 前2條
1 郭虹;中國動(dòng)畫傳播狀況研究[D];復(fù)旦大學(xué);2003年
2 趙小波;歐洲動(dòng)畫產(chǎn)業(yè)發(fā)展模式研究[D];浙江大學(xué);2009年
相關(guān)碩士學(xué)位論文 前3條
1 靳泰然;現(xiàn)代動(dòng)漫藝術(shù)及其主要流派[D];四川大學(xué);2003年
2 蔣莉莉;從增強(qiáng)原創(chuàng)力—看提升中國動(dòng)畫產(chǎn)業(yè)的競爭力[D];上海社會(huì)科學(xué)院;2006年
3 王春鳴;動(dòng)漫藝術(shù)的美學(xué)品格研究[D];東南大學(xué);2005年
，本文編號(hào)：2198858
本文鏈接：http://sikaile.net/wenyilunwen/dongmansheji/2198858.html
最近更新
教材專著
