中日動(dòng)畫電影創(chuàng)作風(fēng)格之比較
發(fā)布時(shí)間：2019-04-07 15:52
【摘要】：中國動(dòng)畫電影沿著萬氏兄弟開創(chuàng)的創(chuàng)作之路一路走來,既經(jīng)歷過“中國學(xué)派”式的輝煌,也經(jīng)歷過低迷與尷尬,如今的中國動(dòng)畫電影創(chuàng)作逐漸復(fù)蘇,但依然在日本、美國這樣的動(dòng)畫大國的夾縫中艱難地生存著。日本動(dòng)畫與中國動(dòng)畫幾乎同時(shí)起步,在發(fā)展過程中,隨著各代創(chuàng)作人才的努力與探索,使得日本成為名符其實(shí)的動(dòng)漫大國,獲得了全世界各年齡層次觀眾的歡迎。本文試圖通過對中日兩國動(dòng)畫電影創(chuàng)作風(fēng)格的比較,挖掘出中國動(dòng)畫電影創(chuàng)作的特色與優(yōu)勢,探索出適合自身的發(fā)展之路,走向新的輝煌。 本文分為緒論和正文兩大部分。 緒論部分從中日兩國動(dòng)畫電影發(fā)展現(xiàn)狀出發(fā),分析了本課題的研究背景,梳理了中日兩國動(dòng)畫電影研究的理論成果,指出了本課題的研究目的和意義。 正文是本文的核心部分,分為四章。第一章從取材內(nèi)容和表現(xiàn)形式兩個(gè)方面分析了中日兩國動(dòng)畫電影創(chuàng)作傳統(tǒng),指出中國動(dòng)畫電影立足于本土,以豐富多彩的表現(xiàn)形式體現(xiàn)民族風(fēng)格；日本動(dòng)畫電影則拿來與本土并存,發(fā)揮本民族特長。 第二章以中日兩國動(dòng)畫電影中的成長主題、愛情主題、現(xiàn)實(shí)主題為研究對象,分析了二者在思想主題開掘方面的異同,指出了兩國不同的動(dòng)畫電影創(chuàng)作觀念：中國以教化為主的創(chuàng)作觀導(dǎo)致動(dòng)畫電影主題較單一,缺乏共鳴；日本動(dòng)畫電影則在宮崎駿的指引下,充滿人文思辨性,符合人類普遍的價(jià)值觀。 第三章從動(dòng)畫形象的特點(diǎn)和功能著手,選取了中日動(dòng)畫電影中的代表形象：英雄形象、兒童形象、神靈形象為研究對象,分析了兩國在動(dòng)畫形象塑造上的差異,進(jìn)而總結(jié)出了優(yōu)秀的動(dòng)畫形象應(yīng)具備的特點(diǎn)：具有真實(shí)的人性,契合時(shí)代的審美變遷,具有民族文化特色的造型。 第四章是結(jié)語部分,總結(jié)了我國動(dòng)畫電影創(chuàng)作上存在的問題,進(jìn)而指出了我國動(dòng)畫電影創(chuàng)作需要借鑒日本動(dòng)畫電影創(chuàng)作的方面,最終得出結(jié)論：我國的動(dòng)畫電影創(chuàng)作者,只有打開視野,擺脫固有觀念的束縛,才能拓展思路,創(chuàng)作出更優(yōu)秀的動(dòng)畫電影作品,才能探索出適合中國動(dòng)畫電影的發(fā)展方向。
[Abstract]:Chinese animated films have gone along the path of creation initiated by the Wan Brothers, having experienced both the splendor of the "Chinese School" style, the downturn and embarrassment, and the gradual recovery of Chinese animation film creation now, but still in Japan. The crevices of animation powers such as the United States struggle to survive. Japanese animation and Chinese animation almost started at the same time. In the process of development, with the efforts and exploration of various generations of creative talents, Japan has become a great anime country worthy of its name, and has been welcomed by audiences of all ages all over the world. This paper attempts to explore the characteristics and advantages of Chinese animation film creation by comparing the creative styles of Chinese and Japanese animation films, and to explore the way of development suitable for themselves, and to move towards new splendor. This paper is divided into two parts: introduction and text. The introduction part starts from the current situation of animation film development between China and Japan, analyzes the research background of this subject, combs the theoretical achievements of the animation film research between China and Japan, and points out the purpose and significance of this subject. The text is the core part of this paper, divided into four chapters. The first chapter analyzes the tradition of animation film creation in China and Japan from two aspects: the content of material and the form of expression, and points out that the Chinese animation film is based on the native land and embodies the national style with rich and colorful forms of expression; Japanese animation film and local co-existence, play their national specialties. The second chapter takes the growth theme, the love theme and the real theme as the research objects in the animated films of China and Japan, and analyzes the similarities and differences in the ideological theme exploration between the two countries. The author points out the different ideas of animation film creation between the two countries: the view of creation based on education in China causes the theme of animation film to be single and lack of resonance; Japanese animation film under the guidance of MiyazakiHayao, full of humanistic thinking, in line with universal human values. The third chapter starts with the characteristics and functions of animation images, and selects the representative images of Chinese and Japanese animation films: hero image, children image and spirit image as the research object, and analyzes the differences in animation image shaping between the two countries. Furthermore, it sums up the characteristics of excellent animation image: it has real human nature, accords with the aesthetic changes of the times, and has the national cultural characteristics of the shape. The fourth chapter is the conclusion part, summarizes the existing problems in the animation film creation of our country, then points out that the animation film creation of our country needs to draw lessons from the Japanese animation film creation aspect, and finally draws the conclusion: the animation film creator of our country, the author of the animation film of our country, Only by opening the field of vision and getting rid of the bondage of inherent concepts can we expand our thinking and create more excellent animated film works. Only then can we explore the direction of development suitable for Chinese animated movies.
【學(xué)位授予單位】：蘭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J954
本文編號：2454188
[Abstract]:Chinese animated films have gone along the path of creation initiated by the Wan Brothers, having experienced both the splendor of the "Chinese School" style, the downturn and embarrassment, and the gradual recovery of Chinese animation film creation now, but still in Japan. The crevices of animation powers such as the United States struggle to survive. Japanese animation and Chinese animation almost started at the same time. In the process of development, with the efforts and exploration of various generations of creative talents, Japan has become a great anime country worthy of its name, and has been welcomed by audiences of all ages all over the world. This paper attempts to explore the characteristics and advantages of Chinese animation film creation by comparing the creative styles of Chinese and Japanese animation films, and to explore the way of development suitable for themselves, and to move towards new splendor. This paper is divided into two parts: introduction and text. The introduction part starts from the current situation of animation film development between China and Japan, analyzes the research background of this subject, combs the theoretical achievements of the animation film research between China and Japan, and points out the purpose and significance of this subject. The text is the core part of this paper, divided into four chapters. The first chapter analyzes the tradition of animation film creation in China and Japan from two aspects: the content of material and the form of expression, and points out that the Chinese animation film is based on the native land and embodies the national style with rich and colorful forms of expression; Japanese animation film and local co-existence, play their national specialties. The second chapter takes the growth theme, the love theme and the real theme as the research objects in the animated films of China and Japan, and analyzes the similarities and differences in the ideological theme exploration between the two countries. The author points out the different ideas of animation film creation between the two countries: the view of creation based on education in China causes the theme of animation film to be single and lack of resonance; Japanese animation film under the guidance of MiyazakiHayao, full of humanistic thinking, in line with universal human values. The third chapter starts with the characteristics and functions of animation images, and selects the representative images of Chinese and Japanese animation films: hero image, children image and spirit image as the research object, and analyzes the differences in animation image shaping between the two countries. Furthermore, it sums up the characteristics of excellent animation image: it has real human nature, accords with the aesthetic changes of the times, and has the national cultural characteristics of the shape. The fourth chapter is the conclusion part, summarizes the existing problems in the animation film creation of our country, then points out that the animation film creation of our country needs to draw lessons from the Japanese animation film creation aspect, and finally draws the conclusion: the animation film creator of our country, the author of the animation film of our country, Only by opening the field of vision and getting rid of the bondage of inherent concepts can we expand our thinking and create more excellent animated film works. Only then can we explore the direction of development suitable for Chinese animated movies.
【學(xué)位授予單位】：蘭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J954
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 朱清華;全球化語境下的中國動(dòng)畫[J];北京電影學(xué)院學(xué)報(bào);2003年04期
，本文編號：2454188
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