發(fā)布時(shí)間：2018-06-14 09:44

  本文選題：日本動(dòng)物電影 + 主題�。� 參考：《華中師范大學(xué)》2013年碩士論文

【摘要】：2004年的《導(dǎo)盲犬小Q》,一只名叫小Q的拉布拉多犬感動(dòng)了亞洲一億觀眾。自此之后,日本動(dòng)物電影佳作不斷,在歐美國(guó)家占主體的市場(chǎng)中,憑借獨(dú)特的東方風(fēng)韻,吹來(lái)一股清新質(zhì)樸之風(fēng),贏得了一席之位。東方人特有的細(xì)膩內(nèi)斂賦予了動(dòng)物電影獨(dú)樹(shù)一幟的東方風(fēng)韻。日本動(dòng)物電影以故事片為主,制作精良,銀幕風(fēng)格內(nèi)斂、質(zhì)樸,敘事緩慢、憂愁,處處侵潤(rùn)著日本民族文化的憂郁和感傷的基調(diào),散發(fā)著獨(dú)特的日本文化氣息。 本文選取幾部影片進(jìn)行分析,旨在對(duì)日本動(dòng)物電影進(jìn)行一個(gè)全面系統(tǒng)的研究,尋找日本動(dòng)物電影成功的原因,并對(duì)我國(guó)的影片有所啟發(fā),大致框架如下：第一部分從形式、動(dòng)物形象和銀幕風(fēng)格三方面對(duì)日本動(dòng)物電影進(jìn)行一個(gè)詳細(xì)的介紹,然后從“忠誠(chéng)”的民族精神、“神道”的民俗文化和“物哀”的民族文化三個(gè)方面透析影片形成的原因；第二部分是對(duì)日本動(dòng)物電影銀幕風(fēng)格的闡述,從鏡頭、畫面、音樂(lè)三個(gè)方面進(jìn)行詳細(xì)的闡述；第三部分用生態(tài)美學(xué)理論分析了日本動(dòng)物電影的主題,分別是人與自然的和諧、缺失與尋找、救贖與回歸,這三方面體現(xiàn)了生態(tài)美學(xué)謀求人、自然、社會(huì)協(xié)調(diào)統(tǒng)一的審美需求；第四部分歸納總結(jié)出日本動(dòng)物電影的成功原因,分別是傳承民族文化性、把握藝術(shù)的共通性和回歸童真童趣；第五部分在上文的基礎(chǔ)上,首先對(duì)中國(guó)動(dòng)物電影進(jìn)行一個(gè)簡(jiǎn)單的梳理,并探究了中國(guó)動(dòng)物電影發(fā)展緩慢是由于生態(tài)意識(shí)的缺失導(dǎo)致的,接下來(lái)從生態(tài)意識(shí)的覺(jué)醒、思想理念的燦爛和文本的豐富三方面,分析了中國(guó)動(dòng)物電影得以發(fā)展的可能性,最后,結(jié)合日本動(dòng)物電影對(duì)中國(guó)的啟示,總結(jié)出中國(guó)動(dòng)物電影發(fā)展的未來(lái)之路。
[Abstract]:In 2004, a Labrador named Q touched 100 million viewers in Asia. Since then, Japanese animal films have been constantly, in Europe and the United States dominated the market, with a unique Oriental charm, blowing a fresh simple wind, won a seat. The peculiar delicacy and introversion of oriental people endow the animal film with its unique oriental charm. Japanese animal films are mainly feature films, which are well produced, with an introverted screen style, simple, slow narration, sadness, and the melancholy and sentimental tone of the Japanese national culture. This article selects several films to carry on the analysis, the purpose is to carry on a comprehensive and systematic research to the Japanese animal movie, to find the reason which the Japanese animal movie succeeds, and to our country's film has the inspiration, the approximate frame is as follows: the first part from the form, The animal image and screen style are introduced in detail, and then the reasons for the formation of the film are analyzed from three aspects: the national spirit of "loyalty", the folk culture of "Shinto" and the national culture of "object mourning". The second part is the Japanese animal film screen style elaboration, from the lens, the picture, the music three aspects carries on the detailed elaboration; the third part uses the ecology esthetics theory to analyze the Japanese animal movie theme, respectively is the human and the nature harmony, Lack and search, redemption and return, these three aspects reflect the aesthetic needs of ecological aesthetics to seek harmony and unity of human, nature and society. The fourth part summarizes the reasons for the success of Japanese animal films, which are the inheritance of national culture, respectively. Grasp the commonality of art and return to childlike innocence; part five, on the basis of the above, makes a simple combing of Chinese animal films, and explores that the slow development of Chinese animal films is caused by the lack of ecological consciousness. Then, from the awakening of ecological consciousness, brilliant ideas and rich texts, the paper analyzes the possibility of the development of Chinese animal films. Finally, combined with the enlightenment of Japanese animal films to China, Summarize the future road of Chinese animal film development.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

【共引文獻(xiàn)】

相關(guān)博士學(xué)位論文 前10條

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2 劉佳;黑澤明作品的美學(xué)特質(zhì)及其對(duì)當(dāng)代中國(guó)電影的啟示[D];南開(kāi)大學(xué);2010年

3 胡俊紅;中國(guó)家具設(shè)計(jì)的民族性研究[D];中南林業(yè)科技大學(xué);2007年

4 戴向東;中日傳統(tǒng)家具文化比較研究[D];中南林業(yè)科技大學(xué);2007年

5 白宇;發(fā)展觀與人的全面發(fā)展[D];吉林大學(xué);2011年

6 何圣倫;苗族審美意識(shí)研究[D];西南大學(xué);2011年

7 郭瑜潔;護(hù)理人文關(guān)懷教學(xué)模式的理論構(gòu)建與實(shí)驗(yàn)研究[D];第二軍醫(yī)大學(xué);2011年

8 郭茂全;新時(shí)期西部散文研究[D];蘭州大學(xué);2011年

9 關(guān)海寬;改革開(kāi)放以來(lái)我國(guó)社會(huì)主義意識(shí)形態(tài)建設(shè)研究[D];蘭州大學(xué);2011年

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本文編號(hào)：2016943