本文關(guān)鍵詞：中國(guó)動(dòng)畫對(duì)民族文化資源開發(fā)的研究　出處：《安徽工程大學(xué)》2016年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 傳統(tǒng)民族文化 中國(guó)動(dòng)畫 資源開發(fā) 民族特色 動(dòng)畫創(chuàng)作

【摘要】：隨著市場(chǎng)經(jīng)濟(jì)時(shí)代的來(lái)臨,當(dāng)下中國(guó)動(dòng)畫的發(fā)展進(jìn)入了瓶頸期。中國(guó)動(dòng)畫步入低谷,在國(guó)際上的影響力也日益減小�！坝捎谕鈬�(guó)文化及觀念的涌入,中國(guó)動(dòng)畫逐漸失去市場(chǎng)與產(chǎn)業(yè)化發(fā)展契機(jī),尤其是在民眾受外來(lái)動(dòng)畫吸引的背景之下,中國(guó)動(dòng)畫已經(jīng)失去了原有的光環(huán),變得被動(dòng)起來(lái)�！痹瓌�(chuàng)力的缺失是中國(guó)動(dòng)畫最大的弊端。當(dāng)下的大部分中國(guó)動(dòng)畫都在模仿國(guó)外的創(chuàng)作模式,不僅是形式上的模仿,甚至于思想內(nèi)涵上也趨于相同。如果我們制作的每一部動(dòng)畫能看到的都只是美國(guó)或日本動(dòng)畫的仿制品,那么,久而久之,觀眾將會(huì)失去對(duì)國(guó)產(chǎn)動(dòng)畫的信心與興趣,中國(guó)動(dòng)畫的本質(zhì)也會(huì)因外來(lái)文化的沖擊與挑戰(zhàn)發(fā)生改變。通過(guò)調(diào)查可知,上個(gè)世紀(jì)50年代到80年代是中國(guó)動(dòng)畫發(fā)展最輝煌的時(shí)代。諸如《神筆馬良》、《大鬧天宮》、《哪咤鬧�！贰ⅰ度齻�(gè)和尚》、《山水情》等一大批優(yōu)秀的動(dòng)畫作品,不僅在本土深受觀眾喜愛(ài),在國(guó)際上也屢獲大獎(jiǎng)。中國(guó)獨(dú)創(chuàng)的“水墨動(dòng)畫”一問(wèn)世,便引起了整個(gè)動(dòng)畫界的贊嘆。那個(gè)年代的中國(guó)動(dòng)畫不僅數(shù)量眾多,題材豐富,形式多樣,而且民族特色鮮明,本土化氣息濃郁。中國(guó)美術(shù)電影多以古典小說(shuō)、寓言、民間故事以及古代神話為題材,使其蒙上了一層?xùn)|方神秘的面紗。在美術(shù)風(fēng)格設(shè)計(jì)工作中,版畫、年畫、皮影、剪紙、壁畫以及傳統(tǒng)繪畫等均是動(dòng)畫工作者的靈感源頭,帶有中國(guó)古老文化的設(shè)計(jì),具有鮮明的民族特色以及傳統(tǒng)民族積淀千年的審美意趣,其間反映出的內(nèi)涵與深厚哲理,更是讓觀者贊嘆。在音樂(lè)設(shè)計(jì)上,力求韻味獨(dú)特、雅俗兼并,通常采用將民樂(lè)與戲曲音樂(lè)結(jié)合的手法。在動(dòng)作設(shè)計(jì)上,借用了中國(guó)傳統(tǒng)戲曲表演動(dòng)作,皮影戲表演動(dòng)作以及中國(guó)功夫等,獨(dú)具特色,別有風(fēng)味。在思想內(nèi)涵上,繼承發(fā)揚(yáng)了中華民族的傳統(tǒng)美德；在主題上深入挖掘民族文化心理和精神本質(zhì),體現(xiàn)了中華民族自身的價(jià)值觀。中國(guó)美術(shù)電影因?yàn)槠洫?dú)特的藝術(shù)魅力在國(guó)際影壇上取得了傲人的成績(jī),被西方學(xué)者們冠以“中國(guó)學(xué)派”這一稱號(hào)�！爸袊�(guó)學(xué)派”標(biāo)志著我國(guó)美術(shù)電影的最高水準(zhǔn),它以民族風(fēng)格為創(chuàng)作的根本,強(qiáng)調(diào)的是創(chuàng)新及與時(shí)俱進(jìn),它從形式與內(nèi)容兩個(gè)方面進(jìn)行創(chuàng)新,在保留中國(guó)傳統(tǒng)動(dòng)畫本質(zhì)的前提下,對(duì)其面貌進(jìn)行了深入的改革,使其具備深厚的信念、哲理與民族風(fēng)格。多年以來(lái),“中國(guó)學(xué)派”始終堅(jiān)守著“設(shè)計(jì)民族風(fēng)格的中國(guó)動(dòng)畫”這一信念,正是他們這種堅(jiān)持與毅力,奠定了中國(guó)動(dòng)畫與美術(shù)電影在國(guó)際影壇上舉足輕重的地位,是藝術(shù)家們復(fù)興動(dòng)畫片、振興東方傳統(tǒng)文化的希望與榜樣�！爸袊�(guó)學(xué)派”對(duì)民族文化的開發(fā)利用是中國(guó)早期動(dòng)畫取得成功的前提。中國(guó)作為四大文明古國(guó)之一,見(jiàn)證了千年的歲月流逝,承載的神秘的、具有民族特色的東方文化,它所具有的藝術(shù)魅力也是令人驚嘆的。動(dòng)畫創(chuàng)作者應(yīng)從全局出發(fā),以浩瀚的民族文化為基礎(chǔ),力求設(shè)計(jì)出有獨(dú)具韻味且有民族特色的動(dòng)畫作品。
[Abstract]:With the advent of the era of market economy, the current development of Chinese animation has entered a bottleneck period. Chinese animation has entered a low valley, and its influence in the world is decreasing. "Due to the influx of foreign culture and ideas, Chinese animation has gradually lost the opportunity of market and industrial development. Especially in the context of attracting foreign animation, Chinese animation has lost its original aura and becomes passive. The lack of original power is the biggest disadvantage of Chinese animation. Most of the current Chinese animations are imitating the creative modes of foreign countries, not only in the form of imitation, but also in the same ideological content. If every animated product we can see is only a copy of American or Japanese animations, then the audience will lose confidence and interest in domestic animation over time, and the essence of Chinese animation will also change because of the impact and challenge of foreign culture. Through the survey, we can see that the 50s to 80s of last century is the most brilliant development of Chinese animation. Such as "magic brush", "heaven", "sea", nazha make "three monks", "landscape love" and a large number of outstanding animation works, not only in the local popular audience favorite, also in the international award-winning. China's original "ink animation" has come out, and it has aroused the admiration of the whole animation world. The Chinese animation in that time was not only a large number, rich in subject matter and varied in form, but also with distinctive national characteristics and rich native flavor. The Chinese art films are mostly based on classical novels, fables, folktales and ancient myths, which make it a mysterious oriental veil. In the style of art design, printmaking, shadow, paper-cut, murals, New Year paintings and traditional painting are the source of inspiration of animation workers, with the design Chinese ancient culture, with distinctive ethnic characteristics and traditional ethnic heritage Millennium aesthetic charm, which reflects the connotation and profound philosophy, is to let the audience praise. In the music design, unique charm, elegance and strive to mergers, usually the means of combining the folk music and opera music. In the action design, borrowed Chinese traditional opera acting, shadow play acting and China Kung Fu, unique, have a distinctive flavour. In the ideological connotation, inherit and carry forward the traditional virtues of the Chinese nation; and tap the national cultural psychology and spiritual essence on the theme, reflecting the Chinese nation's own values. Because of its unique artistic charm, Chinese art film has made a proud achievement in the international film world, which has been called the title of "Chinese School" by western scholars. "China school" marks the highest level of China's art film, with its national style for the creation of a fundamental, stresses innovation and keep pace with the times, from two aspects of its form and content innovation, while retaining the essence of traditional animation Chinese, in-depth reform of its appearance, it has profound faith, philosophy and national style. Over the years, always adhere to the "Chinese school", "the belief that design of national style Chinese animation", it is their persistence and perseverance, laid the China animation and art film plays an important role in the international film industry status, is the Renaissance artists animation, hope and the revitalization of the traditional oriental culture model. The development and utilization of the national culture by the "Chinese School" is the prerequisite for the success of the early Chinese animation. As one of the four ancient civilizations, China has witnessed thousands of years of passage, carrying mysterious and national characteristics of Oriental culture, and its artistic charm is amazing. The animation creator should start from the overall situation, based on the vast national culture, and strive to design the animation with unique charm and national characteristics.
【學(xué)位授予單位】：安徽工程大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J954

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