本文選題：影視動(dòng)畫　切入點(diǎn)：形象　出處：《武漢理工大學(xué)》2015年碩士論文

【摘要】：作為創(chuàng)意產(chǎn)業(yè)的主力軍,動(dòng)畫產(chǎn)業(yè)之所以引得各國爭(zhēng)相競(jìng)奪,其主要原因即是該產(chǎn)業(yè)在文化輸出中占據(jù)著一種先天性的無形優(yōu)勢(shì),而且這種優(yōu)勢(shì)能為整個(gè)文化產(chǎn)業(yè)的發(fā)展提供一個(gè)新的思維空間。因此,如何將不斷變更著的文化進(jìn)一步轉(zhuǎn)化為動(dòng)畫藝術(shù)的生產(chǎn)力,實(shí)現(xiàn)文化資源向動(dòng)畫產(chǎn)業(yè)的跨越,自然而然地就成為了動(dòng)畫人所要考慮的首要問題。于是,對(duì)于影視動(dòng)畫形象而言,其作為影視動(dòng)畫傳播的核心關(guān)鍵,符號(hào)化就成為了一個(gè)必然趨向�？梢院敛豢鋸埖恼f,那些成功的影視動(dòng)畫形象之所以能為受眾所青睞,究其主因,正是由于其附帶的符號(hào)化意義,即蘊(yùn)含在其中的精神文化內(nèi)涵。而影視動(dòng)畫也正是因?yàn)閾碛兄罨镜恼Z法符號(hào)——視聽語言符號(hào),才使得符號(hào)化特征逐漸滲透到了影視動(dòng)畫制作與發(fā)展的各個(gè)階段,尤其是處于影視動(dòng)畫作品核心地位的影視動(dòng)畫形象,其生產(chǎn)與傳播從一開始就被烙上了深深的符號(hào)印跡,甚至,在當(dāng)今全球一體化的進(jìn)程中,其中所賦含的文化內(nèi)涵能否很好的體現(xiàn)和傳播,已然成為影視動(dòng)畫形象傳播能否取得根本性成功的重中之重,也成為了影響一部影視動(dòng)畫作品成敗的關(guān)鍵。因此,本文在宏觀上將影視動(dòng)畫形象視為一個(gè)符號(hào)集合體而置于傳播過程中,通過解析傳受雙方的角色功能以及符號(hào)意義的傳播互動(dòng),研究影視動(dòng)畫形象傳播的符號(hào)化定位動(dòng)因,從微觀上將影視動(dòng)畫語言視為一種信息傳播的符號(hào)編碼系統(tǒng),對(duì)影視動(dòng)畫形象的塑造進(jìn)行了解析,力求對(duì)影視動(dòng)畫形象的創(chuàng)作實(shí)踐這一永恒課題進(jìn)行新的探索與思考。本文第一章引言主要闡述了選題的重要性與必要性;第二章從涵義以及功能方面入手,概述了影視動(dòng)畫形象的符號(hào)化;第三章以傳播的五大要素為基點(diǎn),對(duì)影視動(dòng)畫形象的傳播過程進(jìn)行完整解讀;第四章從傳播環(huán)境、傳播者、受眾三個(gè)層面分析了影視動(dòng)畫形象符號(hào)化傳播的動(dòng)因;第五章闡述了符號(hào)化在影視動(dòng)畫形象傳播中的實(shí)現(xiàn)手法;第六章則著重從傳播過程中動(dòng)畫語言的符號(hào)化應(yīng)用方面入手對(duì)影視動(dòng)畫形象進(jìn)行了分析;第七章是結(jié)語。總之,只有以符號(hào)化路線為導(dǎo)向,以文化為突破口,以動(dòng)畫語言的應(yīng)用為手段,才能不斷達(dá)成有效傳播,繼而實(shí)現(xiàn)影視動(dòng)畫形象傳播中文化價(jià)值與商業(yè)價(jià)值的最終轉(zhuǎn)換。
[Abstract]:As the main force of creative industry, the main reason for animation industry to attract competition among countries is that the industry occupies a congenital intangible advantage in the cultural export.And this advantage can provide a new thinking space for the development of the whole cultural industry.Therefore, how to further transform the constantly changing culture into the productivity of animation art and realize the leapfrogging from cultural resources to animation industry has naturally become the most important issue for animators to consider.Therefore, as the core of film and television animation communication, symbolization has become an inevitable trend.It is no exaggeration to say that the main reason why the successful movie and television animation images can be favored by the audience is precisely because of its symbolic meaning which is the spiritual and cultural connotation contained in it.And it is precisely because of the most basic grammatical symbol-audiovisual language symbol that film and television animation has gradually infiltrated into every stage of production and development of film and television animation.In particular, the production and dissemination of the image of film and television animation, which is at the core of the film and television animation works, has been branded with deep symbolic imprinting from the beginning, and even in the process of global integration,Whether the cultural connotation can be well reflected and propagated has become the most important part of the movie and television animation image communication and the key to the success or failure of a film and television animation works.Therefore, in the macro view, the image of film and television animation is regarded as a collection of symbols and placed in the process of communication, and the communication interaction between the two sides is analyzed through the analysis of the role functions of the two sides, as well as the communication and interaction of the symbolic meaning.This paper studies the symbolic orientation of the image communication of film and television animation, regards the language of film and television animation as a symbol coding system of information transmission, and analyzes the shaping of the image of film and television animation.Try to make a new exploration and reflection on the eternal subject of the creation practice of film and television animation image.The first chapter introduces the importance and necessity of choosing the topic; the second chapter summarizes the symbolization of the image of film and television animation from the meaning and function; the third chapter is based on the five elements of communication.The fourth chapter analyzes the causes of symbolic communication of the image of film and television animation from three aspects: communication environment, communicator and audience.The fifth chapter expounds the symbolization in the film and television animation image communication techniques; the sixth chapter focuses on the symbolic application of animation language in the communication process to analyze the film and television animation image; the seventh chapter is the conclusion.In a word, only with symbolization route as the direction, culture as the breakthrough point and the application of animation language as the means, can we continuously achieve effective communication, and then realize the final transformation of cultural value and commercial value in the transmission of film and television animation image.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J954

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