本文選題：D動畫　切入點：圖像生產　出處：《南京藝術學院學報(美術與設計)》2017年03期 　論文類型：期刊論文

【摘要】：3D動畫誕生半個世紀以來,對整個視覺行業(yè)產生了巨大的沖擊,并有力地重塑著人們與視覺相關的文化和生活方式。本文提出對3D動畫本體的認識不應局限于"動畫"或"活動圖像"的范疇之內,而應該從人類圖像生產力發(fā)展的角度,將其納入一個更宏大的歷史敘事之中。文章提出,由于在實現(xiàn)原理、認知模式、圖像-現(xiàn)實關系、媒介特性等方面與繪畫和攝影兩大傳統(tǒng)制圖手段徹底劃清了界限,3D動畫實質上已經構成了人類所擁有的第三大最根本、最底層、最具普遍適用性的視覺生產方式。在此基礎之上,文章通過對3D動畫內在邏輯的分析,進一步探析了它所帶來的全新的媒介功能,并說明了3D動畫在人類視覺文明發(fā)展中所具有的歷史意義與時代價值。
[Abstract]:Since the birth of 3D animation for half a century, it has had a tremendous impact on the entire visual industry. This paper proposes that the understanding of 3D animation ontology should not be confined to the category of "animation" or "active image", but should be from the perspective of the development of human image productivity. Into a larger historical narrative. The article suggests that because of the realization of principles, cognitive patterns, image-reality relations, Media characteristics and other aspects are completely separated from the two traditional cartographic means of painting and photography. In essence, 3D animation has already constituted the third most fundamental and lowest level of human possession. Based on the analysis of the internal logic of 3D animation, the paper further analyzes the new media function it brings. It also explains the historical significance and time value of 3D animation in the development of human visual civilization.
【作者單位】： 四川大學藝術學院;
【基金】：四川大學中央高�；究蒲袠I(yè)務研究專項項目“本體與形式:動態(tài)圖形設計研究”(skq201523)階段性研究成果
【分類號】：TP391.41
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本文編號：1592707