【摘要】：正引言由于技術(shù)的進步、新材料的出現(xiàn)使得動畫設(shè)計與制造發(fā)生了巨大的變革,其中三維動畫因其形式豐富,并可依賴于計算機的操控,逐漸成為商業(yè)動畫的主流。但二維動畫的獨特繪畫性是最能夠表達形象思維和強烈的情緒的,最能夠?qū)?chuàng)作者的思想轉(zhuǎn)化為豐滿的形象,因此其具有難以替代的優(yōu)勢。比如日本動畫大師宮崎駿的價值觀只有通過二維動畫這一形式才得以展現(xiàn),才能實現(xiàn)其反璞歸真的夢相。目前,獲得人們普遍認可并取得了良好商業(yè)價值的二維動漫已經(jīng)形成了動物擬人化的美式風(fēng)格和主角的非人化(稚齡化)的日式風(fēng)格兩種。
[Abstract]:Due to the development of technology and the emergence of new materials, animation design and manufacture have undergone great changes, in which 3D animation has become the mainstream of commercial animation because of its rich form and computer manipulation. But the unique painting of two-dimensional animation is the most able to express the image of thinking and strong emotions, the most able to transform the creator's thoughts into a full image, so it has an irreplaceable advantage. For example, the Japanese animation master MiyazakiHayao's values can only be displayed through the form of two-dimensional animation, in order to realize his dream of returning to the uncut. At present, the two-dimensional anime, which has been generally recognized and has achieved good commercial value, has formed two kinds of American-style of animal personification and dehumanization of protagonist (childish age) Japanese style.
【分類號】：J954

【相似文獻】

相關(guān)期刊論文 前10條

1 閆萍;;電腦動畫與電影的結(jié)合[J];時代經(jīng)貿(mào)(下旬刊);2007年11期

2 邢艷茹;;二維動畫中的空間藝術(shù)——解讀《獅子王》[J];大眾文藝;2010年03期

3 陸小玲;;國產(chǎn)動畫:在趨利避害中謀發(fā)展[J];文教資料;2008年31期

4 楊惠s，

本文編號：2331053