【摘要】：正"只有民族的,才是世界的。"回顧中國(guó)動(dòng)漫發(fā)展史,證明了這句至理名言。近十幾年,中國(guó)動(dòng)漫產(chǎn)業(yè)走的是一條模仿外國(guó)動(dòng)漫風(fēng)格與技術(shù)的道路,以外包制作為主,我國(guó)原創(chuàng)精品之作乏善可陳,給人們留下深刻記憶的還是《大鬧天空》、《小蝌蚪找媽媽》、《山水情》等較早時(shí)期的動(dòng)畫片。它們正是具有非常鮮明民族特色的動(dòng)漫作品,無(wú)論是創(chuàng)意、故事情節(jié)、人物形象、畫面色彩還是場(chǎng)景設(shè)計(jì)、制作技術(shù),無(wú)一不是深深地打上中國(guó)傳統(tǒng)文化的烙印。水墨動(dòng)漫將傳統(tǒng)水
[Abstract]:Just "only the nation, is the world." Review of the history of animation in China, proved this wisdom. In recent years, the Chinese animation industry has followed a road of imitating foreign animation styles and technologies, mainly outsourced production. The original masterpieces of our country are nothing to mention, leaving people with a deep memory of "the Big Sky". "tadpole looking for mother", "landscape situation" and other earlier animation. They are very distinct national characteristics of animation works, whether creative, storyline, character image, screen color or scene design, production technology, all are deeply branded with the traditional Chinese culture. Ink and ink anime will be traditional wate
【作者單位】： 廣州科技貿(mào)易職業(yè)學(xué)院;
【基金】：廣州市教育科學(xué)“十二五”規(guī)劃第一批課題(11B076)
【分類號(hào)】：J218.7-4
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本文編號(hào)：2322515