中國動畫傳播狀況研究
發(fā)布時間：2018-11-19 12:19
【摘要】： 本文從傳播的視角，審視中國動畫的傳播系統(tǒng)狀況。動畫傳播系統(tǒng)，作為我國影視傳播系統(tǒng)中的一個子傳播系統(tǒng)，必然在帶有其母系統(tǒng)及其更大系統(tǒng)印記的同時，自身也具有其特有的系統(tǒng)狀況。 在當(dāng)前我國國民經(jīng)濟飛速發(fā)展的今天，我國動畫市場似乎也呈現(xiàn)出“朝氣蓬勃”的氣候，然而平均70％-80％的進口電視動畫片播放內(nèi)容，已經(jīng)表明我國動畫市場的微弱與日新月異的經(jīng)濟發(fā)展步伐極不協(xié)調(diào)，過去曾經(jīng)擁有的“中國動畫學(xué)派”桂冠，如今已不知去向。國家領(lǐng)導(dǎo)人一再號召要為青少年生產(chǎn)更多更好的精神食糧，一再強調(diào)小康生活指物質(zhì)和精神雙重意義上的富足，但是改革開放已近30年，我國動畫市場依舊疲軟，一個年需要量數(shù)十萬分鐘的世界第一大市場中，年產(chǎn)量只有1萬多分鐘，只及日本的1％左右。青少年依舊饑不擇食，紛紛將日本動畫片奉為至寶。 中國動畫市場的不振，產(chǎn)業(yè)生存環(huán)境的嚴酷，本可以用經(jīng)濟的眼光進行探察，但本文從傳播的角度進行研究，亦有其優(yōu)勢。首先筆者把這動畫這一塊置入了一個動態(tài)的大環(huán)境里，結(jié)合各種相關(guān)因素進行考量，而非剝離出來；其次動畫研究不僅僅是經(jīng)濟層面的問題，它還涉及內(nèi)容創(chuàng)意的優(yōu)劣，其產(chǎn)品是否受國內(nèi)青少年喜愛事關(guān)市場的繁榮或低靡，這就理所當(dāng)然地牽涉到與我國動畫片受眾的溝通傳播問題。 故本文力求從傳播的視野來綜合分析我國動畫傳播系統(tǒng)的狀況，即1)探察傳者生存環(huán)境，播出渠道，將阻礙其發(fā)展的各種問題梳理清楚；2)探察傳者對市場、對受眾、對產(chǎn)品的認知，以查明他們在傳播當(dāng)中是否主動，是否用心，，對各種問題有怎樣的覺察與建議；3)探察受眾群體特征，生存環(huán)境，時代特點；4)探察受眾欣賞動畫片的動機及得到的滿足；5)探察受眾對國產(chǎn)動畫片的觀點；6)探察受眾對境外動畫片的看法；7)探察受眾對提高動畫片可看性的具體要求；8)探察傳播內(nèi)容，即傳者與受眾之間的橋梁——中外動畫片本身，其特色、優(yōu)劣，除了尋找提高質(zhì)量的要素之外，亦能夠探明我國動畫片創(chuàng)制人員是否將受眾放在中心位置；9)綜合考察環(huán)境、渠道、傳者、內(nèi)容、受眾各個變量之后，對總體的傳播狀況給予評價，并提出解決問題的具體建議。 本文是重在分析問題、解決問題的應(yīng)用研究，力求對傳播學(xué)應(yīng)用研究范疇作出新的貢獻。
[Abstract]:This paper examines the communication system of Chinese animation from the perspective of communication. Animation communication system, as a sub-communication system in the film and television communication system of our country, must have its own unique system condition while it has its mother system and its larger system imprint at the same time. Today, with the rapid development of our national economy, the animation market in our country also seems to have a "vibrant" climate. However, on average, 70 to 80 percent of the imported TV animations are broadcast. It has been shown that the weak animation market of our country is not in harmony with the ever-changing pace of economic development. In the past, the title of "Chinese Animation School", which was once owned by the Chinese Animation School, has disappeared. State leaders have repeatedly called for producing more and better spiritual food for young people. They have repeatedly stressed that a well-off life means both material and spiritual affluence. However, after nearly 30 years of reform and opening up, the animation market in our country remains weak. In the world's largest market, which requires hundreds of thousands of minutes a year, annual production is just over 10,000 minutes, or about 1 percent of Japan's. Young people still hungry, one after another, the Japanese animation as a treasure. China animation market is weak, the industry living environment is harsh, can be explored with the economic perspective, but this paper from the perspective of communication, also has its advantages. First of all, the author put this animation into a dynamic environment, combined with a variety of relevant factors to consider, rather than peel out; Secondly, animation research is not only an economic issue, it also involves the merits and demerits of content and creativity. Whether its products are loved by domestic teenagers is related to the prosperity or depression of the market. This naturally involves communication and communication with Chinese animation audience. Therefore, this paper tries to analyze the situation of animation communication system in China from the perspective of communication, that is, 1) to explore the living environment of communicators and broadcast channels, which will hinder the development of all kinds of problems to sort out clearly; 2) exploring the communicators' cognition of the market, the audience and the products in order to find out whether they are active in the communication, whether they take the heart, how to perceive and advise the various problems, 3) to explore the characteristics of the audience groups, the living environment and the characteristics of the times; 4) exploring the motivation and satisfaction of the audience to appreciate the cartoon; 5) exploring the audience's viewpoint on the domestic animation; 6) exploring the audience's view on the overseas animation; 7) exploring the specific requirements of the audience for improving the visual ability of the cartoon; 8) exploring the communication content, that is, the bridge between the communicator and the audience-the Chinese and foreign animation itself, its characteristics, advantages and disadvantages, in addition to seeking to improve the quality of the elements, but also to find out whether Chinese animation creators put the audience in the central position; 9) after comprehensive investigation of environment, channel, communicator, content and audience, the author evaluates the overall communication situation and puts forward concrete suggestions to solve the problem. This paper focuses on the analysis of problems, problem-solving applied research, and strive to make a new contribution to the field of communication applied research.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2003
【分類號】：J905
[Abstract]:This paper examines the communication system of Chinese animation from the perspective of communication. Animation communication system, as a sub-communication system in the film and television communication system of our country, must have its own unique system condition while it has its mother system and its larger system imprint at the same time. Today, with the rapid development of our national economy, the animation market in our country also seems to have a "vibrant" climate. However, on average, 70 to 80 percent of the imported TV animations are broadcast. It has been shown that the weak animation market of our country is not in harmony with the ever-changing pace of economic development. In the past, the title of "Chinese Animation School", which was once owned by the Chinese Animation School, has disappeared. State leaders have repeatedly called for producing more and better spiritual food for young people. They have repeatedly stressed that a well-off life means both material and spiritual affluence. However, after nearly 30 years of reform and opening up, the animation market in our country remains weak. In the world's largest market, which requires hundreds of thousands of minutes a year, annual production is just over 10,000 minutes, or about 1 percent of Japan's. Young people still hungry, one after another, the Japanese animation as a treasure. China animation market is weak, the industry living environment is harsh, can be explored with the economic perspective, but this paper from the perspective of communication, also has its advantages. First of all, the author put this animation into a dynamic environment, combined with a variety of relevant factors to consider, rather than peel out; Secondly, animation research is not only an economic issue, it also involves the merits and demerits of content and creativity. Whether its products are loved by domestic teenagers is related to the prosperity or depression of the market. This naturally involves communication and communication with Chinese animation audience. Therefore, this paper tries to analyze the situation of animation communication system in China from the perspective of communication, that is, 1) to explore the living environment of communicators and broadcast channels, which will hinder the development of all kinds of problems to sort out clearly; 2) exploring the communicators' cognition of the market, the audience and the products in order to find out whether they are active in the communication, whether they take the heart, how to perceive and advise the various problems, 3) to explore the characteristics of the audience groups, the living environment and the characteristics of the times; 4) exploring the motivation and satisfaction of the audience to appreciate the cartoon; 5) exploring the audience's viewpoint on the domestic animation; 6) exploring the audience's view on the overseas animation; 7) exploring the specific requirements of the audience for improving the visual ability of the cartoon; 8) exploring the communication content, that is, the bridge between the communicator and the audience-the Chinese and foreign animation itself, its characteristics, advantages and disadvantages, in addition to seeking to improve the quality of the elements, but also to find out whether Chinese animation creators put the audience in the central position; 9) after comprehensive investigation of environment, channel, communicator, content and audience, the author evaluates the overall communication situation and puts forward concrete suggestions to solve the problem. This paper focuses on the analysis of problems, problem-solving applied research, and strive to make a new contribution to the field of communication applied research.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2003
【分類號】：J905
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