國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嫷拿褡逍詥栴}研究
發(fā)布時(shí)間：2018-08-20 09:03
【摘要】：20世紀(jì)中期國(guó)產(chǎn)動(dòng)畫曾形成獨(dú)步天下的“中國(guó)動(dòng)畫學(xué)派”,創(chuàng)造了具有濃郁民族風(fēng)格的經(jīng)典作品《大鬧天宮》、《哪吒鬧海》等,給后來很多享有國(guó)際聲譽(yù)的國(guó)外動(dòng)畫創(chuàng)作者帶去深遠(yuǎn)的影響。20世紀(jì)80年代到90代初,少量頗具好評(píng)的長(zhǎng)篇?jiǎng)赢嬜髌窙]能阻止國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬛饾u衰落的趨勢(shì),我國(guó)的動(dòng)畫市場(chǎng)逐漸被日本和美國(guó)長(zhǎng)篇?jiǎng)赢嬚紦?jù)。而民族性的缺失便是導(dǎo)致國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬎〉闹饕蛩?也使得中國(guó)動(dòng)畫在世界上失去了話語權(quán)。近十年來,國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬂^續(xù)徘徊于低谷之中,雖然也有彌足珍貴的進(jìn)步,但仍舉步維艱,存在著很多問題。而我國(guó)研究長(zhǎng)篇?jiǎng)赢嫷闹鲄s是少之又少,是動(dòng)畫理論研究的薄弱環(huán)節(jié)。因此以國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬜髌窞橐劳?從動(dòng)畫民族性這一角度出發(fā),對(duì)國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬤M(jìn)行分析研究的意義重大。 論文主要分五部分逐一研究國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嫷拿褡逍詥栴}。即引言、國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬅褡屣L(fēng)格的形成與發(fā)展、國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬅褡逍缘某尸F(xiàn)方式、對(duì)國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬅褡逍晕磥戆l(fā)展的幾點(diǎn)思考以及結(jié)束語。論文第一章引言介紹了研究的緣起、現(xiàn)狀、內(nèi)容以及創(chuàng)新之處。接著第二章從民族風(fēng)格的開端出發(fā)詳細(xì)分析國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬅褡屣L(fēng)格的形成與發(fā)展,在這里將分為民族風(fēng)格的形成、發(fā)展、成熟、迷失以及逐漸找回這五個(gè)階段來進(jìn)行闡述,逐一梳理。進(jìn)而在第三章闡述國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬅褡逍缘囊恍┚唧w呈現(xiàn)方式,這一章是論文的重點(diǎn),擬從民族特色題材、民族文化符號(hào)以及傳統(tǒng)的敘事藝術(shù)三大方面集中進(jìn)行探究。動(dòng)畫的民族性首先呈現(xiàn)在題材上,中國(guó)豐富多彩的古典文化資源一直是其他國(guó)家不可企及的優(yōu)勢(shì),它為長(zhǎng)篇?jiǎng)赢嫷倪x題提供了源源不斷的能量。其次中國(guó)源遠(yuǎn)流長(zhǎng)的文化也帶來了具有民族特色的文化符號(hào)。只要長(zhǎng)篇?jiǎng)赢嬛谱髡咴谌宋锝巧⒃煨汀?dòng)畫背景、音樂等方面加以正確運(yùn)用,這部動(dòng)畫作品一定會(huì)吸引觀眾、獲得好評(píng)的。同時(shí)我們中國(guó)古代文人在創(chuàng)作文學(xué)作品時(shí)講究的“起、承、轉(zhuǎn)、合”以及“沖突”的敘事模式也被動(dòng)畫創(chuàng)作者吸收利用在長(zhǎng)篇?jiǎng)赢嬌?從而使得作品更加扣人心弦,滿足觀眾的欣賞趣味和審美情趣。最后在第四章做一個(gè)小結(jié),通過前幾章的分析研究提出對(duì)國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬅褡逍晕磥戆l(fā)展的幾點(diǎn)思考。對(duì)于怎樣重拾民族風(fēng)格,使得國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬛卣L(fēng)提出幾點(diǎn)有效的建議。首先,國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嫴荒苋鄙倜褡逍?但同時(shí)應(yīng)該跟時(shí)代接軌,具有時(shí)代性。其次,《秦時(shí)明月》等國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬜髌返某晒σ哺嬖V我們,樹立正確的創(chuàng)作觀念及定位是必不可少的因素。最后,國(guó)產(chǎn)長(zhǎng)篇?jiǎng)赢嬕胫匦略谑澜缟汐@得話語權(quán),創(chuàng)新便是當(dāng)務(wù)之急。
[Abstract]:In the middle of the 20th century, domestic animation formed a unique "Chinese animation school", which created classic works with strong national style, such as "making trouble in Heaven", "Nezha making waves", and so on. It brought profound influence to many foreign animation creators who later enjoyed international reputation. From the 1980s to the early 1990s, a small number of well-received long animation works failed to stop the gradual decline of domestic long animation. The animation market of our country is gradually occupied by Japanese and American long-length animation. The lack of nationality is the main factor leading to the decline of domestic long-length animation, which also makes Chinese animation lose its right to speak in the world. In the past ten years, domestic long animation continues to linger in the valley, although there is also precious progress, but still difficult, there are many problems. But our country studies the long-length animation work is rare, is the animation theory research weak link. Therefore, it is of great significance to analyze and study domestic long-length animation from the angle of nationality of animation based on long-length animation works made in China. The paper is divided into five parts, one by one to study the national characteristics of domestic long-length animation. That is, introduction, the formation and development of the national style of the domestic long animation, the presentation of the national character of the domestic long animation, some thoughts on the future development of the national character of the domestic long animation and the concluding remarks. The first chapter introduces the origin, current situation, content and innovation of the research. Then the second chapter analyzes the formation and development of the national style from the beginning of the national style, which will be divided into five stages: the formation, the development, the maturity, the lost and the gradual retrieval of the national style. Sort it out one by one. Then in the third chapter, the author expounds some specific ways of presenting the national character of domestic long animation. This chapter is the focus of the paper, which focuses on the theme of national characteristics, the symbol of national culture and the traditional narrative art. The nationality of animation is first presented in the subject matter. China's rich and colorful classical cultural resources have always been the unreachable advantage of other countries. It provides a continuous source of energy for the selection of long animation topics. Second, China's long history of culture also brought with national characteristics of the cultural symbols. As long as the long animation producer in character, modeling, animation background, music and other aspects of the correct use, this animation will attract the audience, won praise. At the same time, our ancient Chinese literati's narrative patterns of "starting, accepting, turning, combining" and "conflict" when they create literary works are also absorbed by animation creators and used in long animation, thus making the works more exciting. To satisfy the appreciation and aesthetic taste of the audience. Finally, a summary is made in the fourth chapter, and through the analysis and research of the previous chapters, some thoughts on the future development of the national character of domestic long-length animation are put forward. For how to regain the national style, make domestic long-length animation regrouping some effective suggestions. First of all, domestic long-length animation can not be lack of nationality, but should be in line with the times, with the times. Secondly, the success of long domestic animation works, such as "Qin and Ming Moon", also tells us that it is necessary to set up correct creative concept and position. Finally, domestic long-length animation in order to regain the right to speak in the world, innovation is the top priority.
【學(xué)位授予單位】：信陽師范學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954
本文編號(hào)：2193094
[Abstract]:In the middle of the 20th century, domestic animation formed a unique "Chinese animation school", which created classic works with strong national style, such as "making trouble in Heaven", "Nezha making waves", and so on. It brought profound influence to many foreign animation creators who later enjoyed international reputation. From the 1980s to the early 1990s, a small number of well-received long animation works failed to stop the gradual decline of domestic long animation. The animation market of our country is gradually occupied by Japanese and American long-length animation. The lack of nationality is the main factor leading to the decline of domestic long-length animation, which also makes Chinese animation lose its right to speak in the world. In the past ten years, domestic long animation continues to linger in the valley, although there is also precious progress, but still difficult, there are many problems. But our country studies the long-length animation work is rare, is the animation theory research weak link. Therefore, it is of great significance to analyze and study domestic long-length animation from the angle of nationality of animation based on long-length animation works made in China. The paper is divided into five parts, one by one to study the national characteristics of domestic long-length animation. That is, introduction, the formation and development of the national style of the domestic long animation, the presentation of the national character of the domestic long animation, some thoughts on the future development of the national character of the domestic long animation and the concluding remarks. The first chapter introduces the origin, current situation, content and innovation of the research. Then the second chapter analyzes the formation and development of the national style from the beginning of the national style, which will be divided into five stages: the formation, the development, the maturity, the lost and the gradual retrieval of the national style. Sort it out one by one. Then in the third chapter, the author expounds some specific ways of presenting the national character of domestic long animation. This chapter is the focus of the paper, which focuses on the theme of national characteristics, the symbol of national culture and the traditional narrative art. The nationality of animation is first presented in the subject matter. China's rich and colorful classical cultural resources have always been the unreachable advantage of other countries. It provides a continuous source of energy for the selection of long animation topics. Second, China's long history of culture also brought with national characteristics of the cultural symbols. As long as the long animation producer in character, modeling, animation background, music and other aspects of the correct use, this animation will attract the audience, won praise. At the same time, our ancient Chinese literati's narrative patterns of "starting, accepting, turning, combining" and "conflict" when they create literary works are also absorbed by animation creators and used in long animation, thus making the works more exciting. To satisfy the appreciation and aesthetic taste of the audience. Finally, a summary is made in the fourth chapter, and through the analysis and research of the previous chapters, some thoughts on the future development of the national character of domestic long-length animation are put forward. For how to regain the national style, make domestic long-length animation regrouping some effective suggestions. First of all, domestic long-length animation can not be lack of nationality, but should be in line with the times, with the times. Secondly, the success of long domestic animation works, such as "Qin and Ming Moon", also tells us that it is necessary to set up correct creative concept and position. Finally, domestic long-length animation in order to regain the right to speak in the world, innovation is the top priority.
【學(xué)位授予單位】：信陽師范學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954
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