日本動(dòng)畫分鏡與漫畫分鏡比較研究
發(fā)布時(shí)間：2018-11-27 10:48
【摘要】：日本電視動(dòng)畫的制作與播出,其原作大多都是來自漫畫。當(dāng)漫畫期刊上連載的漫畫受到大眾的歡迎,并其單行本銷量達(dá)到一定數(shù)量后,出版社與動(dòng)畫制作公司將進(jìn)行商討來決定是否改編成動(dòng)畫片。筆者在經(jīng)過多次的日本動(dòng)畫片與漫畫作品欣賞后,發(fā)現(xiàn)很多動(dòng)畫在分鏡時(shí)會(huì)參考原著漫畫的分鏡,但畢竟影視動(dòng)畫的分鏡是指示動(dòng)態(tài)的鏡頭設(shè)計(jì),與紙面上的靜態(tài)分鏡不同,因此會(huì)出現(xiàn)不同的表現(xiàn)手法。比較與分析兩者之間的聯(lián)系與區(qū)別,深入探討兩者的各種分鏡細(xì)節(jié),是本文的主要研究?jī)?nèi)容。 根據(jù)鏡頭語言的各種表達(dá)方式與技巧,解析與比較漫畫與動(dòng)畫的分鏡畫面內(nèi)容與組接表現(xiàn)手法等。從比較研究到案例研究,在總結(jié)規(guī)律后進(jìn)行歸納研究,全文從日本漫畫改編為動(dòng)畫這一產(chǎn)業(yè)模式入手,通過研究分鏡來尋找兩者相同與不同之處,探究出其運(yùn)用規(guī)律。第一章緒論部分從課題研究背景開始闡述,再結(jié)合國(guó)內(nèi)外現(xiàn)狀來表示此次課題在理論范圍內(nèi)的空缺,并說明研究目的；第二章,動(dòng)畫分鏡與漫畫分鏡的概念,此部分界定了本文中所指的漫畫與動(dòng)畫的研究范圍及兩者的分鏡含義;第三章與第四章即是開始對(duì)動(dòng)畫與漫畫的分鏡進(jìn)行比較,提出論點(diǎn)通過案例分析來驗(yàn)證論點(diǎn)。第五章則是研究結(jié)果對(duì)個(gè)人的專業(yè)技能及我國(guó)動(dòng)畫漫畫分鏡的一些啟示。 欣賞與學(xué)習(xí)研究日本的漫畫分鏡改編為動(dòng)畫分鏡,貫徹分鏡語言等理論知識(shí),理論與探索研究相結(jié)合,找出兩者在分鏡上的異同點(diǎn),總結(jié)出其運(yùn)用的規(guī)律。有效地結(jié)合自我實(shí)踐經(jīng)歷與知識(shí),對(duì)這一比較過程進(jìn)行系統(tǒng)化的分析,并反復(fù)歸納來完成此次課題的研究。 本文研究成果主要是：填補(bǔ)現(xiàn)階段文獻(xiàn)與著作等理論研究在動(dòng)畫與漫畫在分鏡上的異同比較方面的空白,通過不斷歸納與總結(jié)分鏡改編的繪制規(guī)律,達(dá)到個(gè)人與我國(guó)在此方面的理論和技術(shù)的提升作用。 本文的創(chuàng)新點(diǎn)即是以分鏡為視角來進(jìn)行日本的漫畫改編為漫畫的比較性理論研究。在動(dòng)畫分鏡的研究與日本動(dòng)畫漫畫產(chǎn)業(yè)模式的研究之類的文獻(xiàn)越來越多的近幾年,本文將兩者結(jié)合起來進(jìn)行研究的論文則可謂是較為嶄新的著眼點(diǎn)。
[Abstract]:Japanese TV animation production and broadcast, its original works are mostly from comic books. When comics published in comic journals are popular with the public and sales of monographs reach a certain number, publishers and animation companies will discuss whether to adapt them to cartoons. After watching Japanese cartoons and comic books for many times, the author finds that many animations will refer to the original comics when they are split, but after all, the film and television animation's split mirror is a dynamic lens design, which is different from the static separation on paper. Therefore, there will be different ways of expression. It is the main research content of this paper to compare and analyze the relationship and difference between the two, and to probe into the detail of each kind of mirror. According to the various expression methods and techniques of lens language, this paper analyzes and compares the content and expression techniques of comics and animations. From the comparative study to the case study, after summing up the law, the thesis starts with the industrial model of Japanese comic book adaptation to animation, and finds out the similarities and differences between the two through the research on the mirror, and explores the rules of their application. The first chapter begins with the background of the research, and then combines the domestic and foreign situation to express the lack of the topic in the theoretical scope, and explains the purpose of the research; The second chapter, the concept of animation and cartoon mirror, this part defines the research scope of cartoon and animation and the meaning of the two. The third chapter and the fourth chapter are beginning to compare the animations and comics, and put forward a case study to verify the argument. The fifth chapter is the results of the study of personal professional skills and Chinese animated cartoon mirror some inspiration. Appreciation and study of Japanese Comic Mirror adapted into Animated Mirror, carry out the theoretical knowledge of Mirror differentiation language, combine theory with exploratory research, find out the similarities and differences between them and sum up the rules of their application. Combining self-practice experience and knowledge effectively, this comparative process is systematically analyzed, and summarized repeatedly to complete the research of this subject. The main research results of this paper are as follows: to fill the gap in the comparison of the similarities and differences between animation and cartoon in the mirror, and to summarize and summarize the drawing law of the rearrangement of the split mirror through the continuous induction and summary of the drawing rules of the rearrangement of the split mirror. To achieve the individual and our country in this field of theory and technology to enhance the role. The innovation of this paper is to study the comparative theory of Japanese comics adaptation into comics from the perspective of split-mirror. In recent years, there are more and more documents such as the research of animation sub-mirror and the research of Japanese cartoon industry model. The paper combining the two is a relatively new focus.
【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】：2013
【分類號(hào)】：J954;J218.2
本文編號(hào)：2360475
[Abstract]:Japanese TV animation production and broadcast, its original works are mostly from comic books. When comics published in comic journals are popular with the public and sales of monographs reach a certain number, publishers and animation companies will discuss whether to adapt them to cartoons. After watching Japanese cartoons and comic books for many times, the author finds that many animations will refer to the original comics when they are split, but after all, the film and television animation's split mirror is a dynamic lens design, which is different from the static separation on paper. Therefore, there will be different ways of expression. It is the main research content of this paper to compare and analyze the relationship and difference between the two, and to probe into the detail of each kind of mirror. According to the various expression methods and techniques of lens language, this paper analyzes and compares the content and expression techniques of comics and animations. From the comparative study to the case study, after summing up the law, the thesis starts with the industrial model of Japanese comic book adaptation to animation, and finds out the similarities and differences between the two through the research on the mirror, and explores the rules of their application. The first chapter begins with the background of the research, and then combines the domestic and foreign situation to express the lack of the topic in the theoretical scope, and explains the purpose of the research; The second chapter, the concept of animation and cartoon mirror, this part defines the research scope of cartoon and animation and the meaning of the two. The third chapter and the fourth chapter are beginning to compare the animations and comics, and put forward a case study to verify the argument. The fifth chapter is the results of the study of personal professional skills and Chinese animated cartoon mirror some inspiration. Appreciation and study of Japanese Comic Mirror adapted into Animated Mirror, carry out the theoretical knowledge of Mirror differentiation language, combine theory with exploratory research, find out the similarities and differences between them and sum up the rules of their application. Combining self-practice experience and knowledge effectively, this comparative process is systematically analyzed, and summarized repeatedly to complete the research of this subject. The main research results of this paper are as follows: to fill the gap in the comparison of the similarities and differences between animation and cartoon in the mirror, and to summarize and summarize the drawing law of the rearrangement of the split mirror through the continuous induction and summary of the drawing rules of the rearrangement of the split mirror. To achieve the individual and our country in this field of theory and technology to enhance the role. The innovation of this paper is to study the comparative theory of Japanese comics adaptation into comics from the perspective of split-mirror. In recent years, there are more and more documents such as the research of animation sub-mirror and the research of Japanese cartoon industry model. The paper combining the two is a relatively new focus.
【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】：2013
【分類號(hào)】：J954;J218.2
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，本文編號(hào)：2360475
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