日本動(dòng)畫暴力研究
發(fā)布時(shí)間：2018-10-17 18:37
【摘要】： 日本動(dòng)畫片以其精彩的故事情節(jié)、錯(cuò)落有致的敘事結(jié)構(gòu)、豐富的人物形象和語言、多變的繪畫色彩和風(fēng)格等被廣大的觀眾所認(rèn)知和喜愛,特別是得到了全世界越來越多的青少年的推崇。日本近幾年來每年動(dòng)漫產(chǎn)業(yè)的凈利潤(rùn)平均可達(dá)4.5億美元,占全世界范圍內(nèi)動(dòng)漫利潤(rùn)的一半還多。據(jù)日本經(jīng)濟(jì)產(chǎn)業(yè)省的統(tǒng)計(jì)顯示,在全世界放映的動(dòng)畫片中有近六成是日本制造的。 但是,在文化上具有巨大號(hào)召力、經(jīng)濟(jì)上出盡風(fēng)頭的日本動(dòng)畫片,卻無法回避暴力、戰(zhàn)爭(zhēng)、軍國(guó)主義的主題。如今,已經(jīng)有越來越多的學(xué)者注意并譴責(zé)日本動(dòng)畫片在視覺上的“暴力美學(xué)”傾向和暴力場(chǎng)景背后隱含的危險(xiǎn)的意識(shí)形態(tài)。日本動(dòng)畫片充斥著暴力的畫面提供給青少年扭曲的世界觀,改變了青少年對(duì)現(xiàn)實(shí)的看法,使青少年相信暴力是正常的,而且經(jīng)�？梢姷�。同時(shí)受本民族獨(dú)特的地理、歷史、文化的影響,日本某些危險(xiǎn)的意識(shí)形態(tài)也隱藏其中。 動(dòng)畫片以日本強(qiáng)大的經(jīng)濟(jì)實(shí)力為后盾,通過大眾媒介播放的形式將日本主流的價(jià)值觀、意識(shí)形態(tài)潛移默化地傳遞給受眾。這種強(qiáng)勢(shì)文化的輸入和滲透,對(duì)受眾的影響更隱蔽且深遠(yuǎn),使受眾在對(duì)文化消費(fèi)的過程中失去了批判的意識(shí),在侵蝕我們本民族文化的同時(shí),產(chǎn)生一系列嚴(yán)重的后果。 日本含有負(fù)面甚至糟粕的意識(shí)形態(tài)、通過動(dòng)畫片的形式輸入和滲透,對(duì)我國(guó)的青少年受眾和本民族的文化產(chǎn)生巨大且深遠(yuǎn)的影響,我們要警惕和批判——本文寫作的意義也在于此。對(duì)于本文將要探討的體現(xiàn)了暴力、軍國(guó)主義等文化糟粕的動(dòng)畫作品,我們應(yīng)該以認(rèn)真的態(tài)度阻斷它的傳播,摒棄它的負(fù)面影響。作為動(dòng)漫主要的受眾,再加上自身有限的辨別能力,青少年受眾更應(yīng)該避免涉獵這類動(dòng)畫片。 本論文遵循由淺入深、由表及里,層層深入的原則,將量化研究和質(zhì)化研究有機(jī)結(jié)合,將暴力和軍國(guó)主義的文化形態(tài)及其成因分析有機(jī)結(jié)合。在方法上更科學(xué)、更嚴(yán)謹(jǐn)、更客觀,在內(nèi)容上更具體、更有針對(duì)性、更全面。 本文的前半部分使用了量化分析的方法,遵循著嚴(yán)格的概念界定、抽樣、編碼表設(shè)計(jì)、軟件分析等過程,得出的數(shù)據(jù)和圖表可以更客觀、直接地展現(xiàn)日本動(dòng)畫中暴力嚴(yán)重程度和暴力存在的特征;用編碼表相關(guān)變量之間的交叉關(guān)系,更有力地闡述日本動(dòng)畫片暴力場(chǎng)景的性質(zhì)和寓意。這種方法在日本動(dòng)畫暴力的研究方面還沒有使用過。 本文后半部分應(yīng)用符號(hào)學(xué)、傳播學(xué)、跨文化傳播等理論知識(shí),對(duì)日本動(dòng)畫片的暴力場(chǎng)景背后的文化內(nèi)涵進(jìn)行分析。通過典型暴力場(chǎng)景的個(gè)案分析,闡釋日本“以男性為主導(dǎo)”的社會(huì)、“軍國(guó)主義”文化形態(tài)在動(dòng)畫中的表現(xiàn)并從地理因素、神道教、武士道的影響和戰(zhàn)后以文學(xué)為代表的日本文化對(duì)戰(zhàn)爭(zhēng)反思的影響四個(gè)方面分析其產(chǎn)生的原因。進(jìn)而以警惕日本動(dòng)畫文化霸權(quán)作結(jié)。
[Abstract]:Japanese cartoons have been recognized and loved by the general audience for their wonderful storylines, fragmented narrative structure, rich characters and language, varied painting colors and styles, etc. Especially by more and more young people all over the world. In recent years, the average annual net profit of Japan's animation industry can reach $450 million, accounting for more than half of the worldwide animation profits. According to statistics from Japan's Ministry of economy, Trade and Industry, nearly 60 percent of the cartoons shown in the world are made in Japan. However, the Japanese animation, which has a great appeal in culture and economic prowess, can not avoid the themes of violence, war and militarism. Nowadays, more and more scholars have paid attention to and condemned the visual tendency of "violent aesthetics" and the dangerous ideology behind the scenes of violence in Japanese cartoons. The images of Japanese cartoons filled with violence provide young people with distorted world views, changing their perception of reality and convincing them that violence is normal and often visible. At the same time, influenced by the unique geography, history and culture of the nation, some dangerous ideologies of Japan are also hidden. With Japan's strong economic strength as its backing, the cartoon conveys Japanese mainstream values and ideology to the audience in the form of mass media broadcasting. The input and infiltration of this strong culture have a more subtle and far-reaching influence on the audience, which makes the audience lose the critical consciousness in the process of cultural consumption, and at the same time, it has a series of serious consequences while eroding our national culture. Japan contains negative and even dregs of ideology, through the form of animation input and infiltration of our young people and the culture of our nation has a huge and far-reaching impact. We should be vigilant and critical-this is the meaning of this writing. For the animation works which reflect the culture dregs such as violence, militarism and so on, we should seriously block its dissemination and abandon its negative influence. As the main audience of animation, coupled with their limited ability to distinguish, teenagers should avoid such cartoons. Following the principle of from shallow to deep, from surface to interior, this paper combines quantitative research with qualitative research and the cultural form of violence and militarism as well as the analysis of its causes. More scientific, more rigorous, more objective, more specific in content, more targeted, more comprehensive. The first half of this paper uses the method of quantitative analysis, following the strict concept definition, sampling, coding table design, software analysis, etc., the resulting data and charts can be more objective. It directly shows the severity of violence and the characteristics of violence in Japanese animation, and illustrates the nature and meaning of violence scene of Japanese animation more forcefully by using the cross relation between the related variables in the coding table. This method has not been used in the study of Japanese animation violence. In the second half of this paper, we analyze the cultural connotations behind the violent scenes of Japanese cartoons with the theoretical knowledge of semiotics, communication and cross-cultural communication. Through the case analysis of typical violent scenes, this paper explains the expression of Japanese "male-dominated" society, "militarism" cultural form in animation and from geographical factors, Shinto, The influence of Bushido and the influence of Japanese culture represented by literature on war introspection are analyzed in four aspects. And then to guard against Japanese animation cultural hegemony as the conclusion.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J954
本文編號(hào)：2277595
[Abstract]:Japanese cartoons have been recognized and loved by the general audience for their wonderful storylines, fragmented narrative structure, rich characters and language, varied painting colors and styles, etc. Especially by more and more young people all over the world. In recent years, the average annual net profit of Japan's animation industry can reach $450 million, accounting for more than half of the worldwide animation profits. According to statistics from Japan's Ministry of economy, Trade and Industry, nearly 60 percent of the cartoons shown in the world are made in Japan. However, the Japanese animation, which has a great appeal in culture and economic prowess, can not avoid the themes of violence, war and militarism. Nowadays, more and more scholars have paid attention to and condemned the visual tendency of "violent aesthetics" and the dangerous ideology behind the scenes of violence in Japanese cartoons. The images of Japanese cartoons filled with violence provide young people with distorted world views, changing their perception of reality and convincing them that violence is normal and often visible. At the same time, influenced by the unique geography, history and culture of the nation, some dangerous ideologies of Japan are also hidden. With Japan's strong economic strength as its backing, the cartoon conveys Japanese mainstream values and ideology to the audience in the form of mass media broadcasting. The input and infiltration of this strong culture have a more subtle and far-reaching influence on the audience, which makes the audience lose the critical consciousness in the process of cultural consumption, and at the same time, it has a series of serious consequences while eroding our national culture. Japan contains negative and even dregs of ideology, through the form of animation input and infiltration of our young people and the culture of our nation has a huge and far-reaching impact. We should be vigilant and critical-this is the meaning of this writing. For the animation works which reflect the culture dregs such as violence, militarism and so on, we should seriously block its dissemination and abandon its negative influence. As the main audience of animation, coupled with their limited ability to distinguish, teenagers should avoid such cartoons. Following the principle of from shallow to deep, from surface to interior, this paper combines quantitative research with qualitative research and the cultural form of violence and militarism as well as the analysis of its causes. More scientific, more rigorous, more objective, more specific in content, more targeted, more comprehensive. The first half of this paper uses the method of quantitative analysis, following the strict concept definition, sampling, coding table design, software analysis, etc., the resulting data and charts can be more objective. It directly shows the severity of violence and the characteristics of violence in Japanese animation, and illustrates the nature and meaning of violence scene of Japanese animation more forcefully by using the cross relation between the related variables in the coding table. This method has not been used in the study of Japanese animation violence. In the second half of this paper, we analyze the cultural connotations behind the violent scenes of Japanese cartoons with the theoretical knowledge of semiotics, communication and cross-cultural communication. Through the case analysis of typical violent scenes, this paper explains the expression of Japanese "male-dominated" society, "militarism" cultural form in animation and from geographical factors, Shinto, The influence of Bushido and the influence of Japanese culture represented by literature on war introspection are analyzed in four aspects. And then to guard against Japanese animation cultural hegemony as the conclusion.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J954
【引證文獻(xiàn)】
相關(guān)期刊論文 前1條
1 蔣超迪;茍坤;;淺論日本動(dòng)漫元素“腹黑”的語義及其特點(diǎn)[J];樂山師范學(xué)院學(xué)報(bào);2013年02期
，本文編號(hào)：2277595
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