“動(dòng)畫(huà)系統(tǒng)”研究
發(fā)布時(shí)間：2019-01-03 18:03
【摘要】：系統(tǒng)的理論經(jīng)過(guò)了近半個(gè)世紀(jì)的深入發(fā)展,其方法已經(jīng)廣泛應(yīng)用于自然科學(xué)、社會(huì)科學(xué)的諸多領(lǐng)域并取得了顯著的成果。電影符號(hào)學(xué)的研究將電影理論研究的思路從電影內(nèi)部拓展到電影之外的語(yǔ)言學(xué),心理學(xué)、符號(hào)學(xué)、敘事學(xué)、社會(huì)學(xué)、媒體傳播學(xué)等學(xué)科領(lǐng)域,使電影理論的研究具有了相當(dāng)?shù)膶W(xué)術(shù)價(jià)值并對(duì)電影創(chuàng)作產(chǎn)生了深遠(yuǎn)的影響。動(dòng)畫(huà)涉及的諸環(huán)節(jié)及其相互的關(guān)聯(lián)關(guān)系綜合構(gòu)成了一整套動(dòng)畫(huà)系統(tǒng)。不同動(dòng)畫(huà)系統(tǒng)的優(yōu)化程度、結(jié)構(gòu)配置不同,對(duì)于動(dòng)畫(huà)品質(zhì)將產(chǎn)生巨大的影響。目前,關(guān)于動(dòng)畫(huà)系統(tǒng)的基本理論還是一個(gè)空白。本論文旨在提出“動(dòng)畫(huà)系統(tǒng)”的概念,構(gòu)建動(dòng)畫(huà)系統(tǒng)理論基礎(chǔ)平臺(tái),不僅能夠在動(dòng)畫(huà)內(nèi)解決動(dòng)畫(huà)問(wèn)題,更可以運(yùn)用系統(tǒng)的方法、符號(hào)的方法在動(dòng)畫(huà)外解決動(dòng)畫(huà)問(wèn)題,這對(duì)于有效整合現(xiàn)有的動(dòng)畫(huà)理論資源,動(dòng)畫(huà)人才資源,動(dòng)畫(huà)及其行業(yè)資源,使動(dòng)畫(huà)系統(tǒng)優(yōu)化發(fā)展具有非常重要的理論指導(dǎo)意義。 論文的關(guān)鍵是將系統(tǒng)的觀念和系統(tǒng)的方法引入動(dòng)畫(huà)理論的研究并形成體系化發(fā)展。提出動(dòng)畫(huà)系統(tǒng)理論的基本框架,闡釋其內(nèi)涵及核心思想,提出動(dòng)畫(huà)系統(tǒng)的預(yù)測(cè)模型,運(yùn)用系統(tǒng)評(píng)價(jià)的科學(xué)方法通過(guò)動(dòng)畫(huà)實(shí)踐的分析論證檢測(cè)系統(tǒng)模型,并對(duì)預(yù)測(cè)模型進(jìn)行務(wù)實(shí)、客觀的修正。通過(guò)動(dòng)畫(huà)系統(tǒng)模型的分析論證形成動(dòng)畫(huà)系統(tǒng)理論分析的依據(jù)和評(píng)價(jià)標(biāo)準(zhǔn),進(jìn)一步闡釋動(dòng)畫(huà)諸多可能性形成的系統(tǒng)機(jī)制;通過(guò)對(duì)我國(guó)和日本和美國(guó)的動(dòng)畫(huà)系統(tǒng)橫向比較,客觀理性地看出我國(guó)動(dòng)畫(huà)目前的瓶頸所在。 論文的另一部分工作是將語(yǔ)言、符號(hào)的觀念與方法引進(jìn)動(dòng)畫(huà)系統(tǒng)理論,初步豐富理論體系,是其更加具有開(kāi)放意識(shí),更加對(duì)指導(dǎo)實(shí)踐產(chǎn)生實(shí)際意義。主要運(yùn)用動(dòng)畫(huà)系統(tǒng)修正模型初步研究動(dòng)畫(huà)系統(tǒng)的語(yǔ)言機(jī)制和符號(hào)機(jī)制,主要成果是將動(dòng)畫(huà)語(yǔ)言的三個(gè)層次與動(dòng)畫(huà)觀眾的三種反應(yīng)機(jī)制建立系統(tǒng)聯(lián)系,提出“社會(huì)存在經(jīng)驗(yàn)”概念,為動(dòng)畫(huà)創(chuàng)作者與動(dòng)畫(huà)觀眾之間的平等溝通找到了客觀的依據(jù),對(duì)于動(dòng)畫(huà)創(chuàng)作具有重要指導(dǎo)意義。提出“動(dòng)畫(huà)是一場(chǎng)比喻,最大的本體就是社會(huì)存在,最大的喻體就是動(dòng)畫(huà)自身”的觀點(diǎn)。引進(jìn)話語(yǔ)符號(hào)學(xué)中的“角色”、“扮演者”概念,探討了動(dòng)畫(huà)觀眾與動(dòng)畫(huà)系統(tǒng)的符號(hào)關(guān)系,發(fā)掘出動(dòng)畫(huà)不同于電影的新的特質(zhì),充實(shí)了動(dòng)畫(huà)系統(tǒng)理論。
[Abstract]:The theory of the system has been developed for nearly half a century, and its method has been widely used in many fields of natural science and social science, and has achieved remarkable results. The study of film semiotics extends the train of thought of film theory research from inside to outside the field of linguistics, psychology, semiotics, narratology, sociology, media communication and so on. So that the study of film theory has considerable academic value and has a profound impact on film creation. All the links involved in animation and their correlation relations constitute a set of animation system. The optimization degree and structure configuration of different animation system will have a great influence on animation quality. At present, the basic theory of animation system is still a blank. The purpose of this paper is to put forward the concept of "animation system", to construct the basic platform of animation system theory, not only can solve the animation problem in the animation, but also can use the systematic method, the symbol method to solve the animation problem outside the animation. This is of great theoretical significance for the effective integration of existing animation theory resources, animation talent resources, animation and its industry resources, and the optimization and development of animation system. The key point of this paper is to introduce the concept and method of system into the research of animation theory and form the systematization development. This paper puts forward the basic frame of animation system theory, explains its connotation and core idea, puts forward the prediction model of animation system, proves the detection system model through the analysis of animation practice by the scientific method of system evaluation, and makes a practical application to the prediction model. An objective correction. Through the analysis and demonstration of animation system model, the basis and evaluation standard of animation system theory analysis are formed, and the system mechanism of many possibilities of animation is further explained. By comparing the animation system of our country with that of Japan and the United States, we can find out objectively and rationally the bottleneck of animation in our country. The other part of the thesis is to introduce the concepts and methods of language and symbol into the animation system theory. This paper mainly studies the language mechanism and symbol mechanism of animation system by using the animation system revision model. The main achievement is to establish a systematic connection between the three levels of animation language and the three reaction mechanisms of animation audience. This paper puts forward the concept of "social existence experience", which provides an objective basis for the equal communication between animation creators and animation viewers, and has an important guiding significance for animation creation. Animation is a metaphor, the biggest ontology is social existence, the biggest vehicle is animation itself. This paper introduces the concept of "role" and "actor" in discourse semiotics, probes into the symbolic relationship between animation audience and animation system, finds out the new characteristics of animation different from film, and enriches the theory of animation system.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J218
本文編號(hào)：2399711
[Abstract]:The theory of the system has been developed for nearly half a century, and its method has been widely used in many fields of natural science and social science, and has achieved remarkable results. The study of film semiotics extends the train of thought of film theory research from inside to outside the field of linguistics, psychology, semiotics, narratology, sociology, media communication and so on. So that the study of film theory has considerable academic value and has a profound impact on film creation. All the links involved in animation and their correlation relations constitute a set of animation system. The optimization degree and structure configuration of different animation system will have a great influence on animation quality. At present, the basic theory of animation system is still a blank. The purpose of this paper is to put forward the concept of "animation system", to construct the basic platform of animation system theory, not only can solve the animation problem in the animation, but also can use the systematic method, the symbol method to solve the animation problem outside the animation. This is of great theoretical significance for the effective integration of existing animation theory resources, animation talent resources, animation and its industry resources, and the optimization and development of animation system. The key point of this paper is to introduce the concept and method of system into the research of animation theory and form the systematization development. This paper puts forward the basic frame of animation system theory, explains its connotation and core idea, puts forward the prediction model of animation system, proves the detection system model through the analysis of animation practice by the scientific method of system evaluation, and makes a practical application to the prediction model. An objective correction. Through the analysis and demonstration of animation system model, the basis and evaluation standard of animation system theory analysis are formed, and the system mechanism of many possibilities of animation is further explained. By comparing the animation system of our country with that of Japan and the United States, we can find out objectively and rationally the bottleneck of animation in our country. The other part of the thesis is to introduce the concepts and methods of language and symbol into the animation system theory. This paper mainly studies the language mechanism and symbol mechanism of animation system by using the animation system revision model. The main achievement is to establish a systematic connection between the three levels of animation language and the three reaction mechanisms of animation audience. This paper puts forward the concept of "social existence experience", which provides an objective basis for the equal communication between animation creators and animation viewers, and has an important guiding significance for animation creation. Animation is a metaphor, the biggest ontology is social existence, the biggest vehicle is animation itself. This paper introduces the concept of "role" and "actor" in discourse semiotics, probes into the symbolic relationship between animation audience and animation system, finds out the new characteristics of animation different from film, and enriches the theory of animation system.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J218
【引證文獻(xiàn)】
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2 周晨;文化生態(tài)的衍變與中國(guó)動(dòng)畫(huà)電影發(fā)展研究[D];蘇州大學(xué);2011年
相關(guān)碩士學(xué)位論文 前5條
1 杜娟;2003-2008年美國(guó)動(dòng)畫(huà)發(fā)展綜述[D];吉林藝術(shù)學(xué)院;2010年
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3 齊亞?wèn)|;Flash動(dòng)畫(huà)的新媒體特性研究[D];西安理工大學(xué);2009年
4 郝紅杰;論新媒體時(shí)代動(dòng)畫(huà)藝術(shù)形式的重新定位[D];西安理工大學(xué);2010年
5 仝琳;論攝影技術(shù)在動(dòng)畫(huà)制作中的重要作用[D];山東師范大學(xué);2010年
，本文編號(hào)：2399711
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