本文選題：日本動(dòng)漫　切入點(diǎn)：海賊王　出處：《西南政法大學(xué)》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：隨著視覺(jué)文化傳播的逐漸興起，圖片和視頻的傳播在我們生活中占據(jù)著很大的比重，動(dòng)漫作為一種視覺(jué)文化的表現(xiàn)形式，在文化傳播中扮演著重要的角色，其影響不可小覷。同時(shí)，全球化也成為當(dāng)下不可回避的現(xiàn)實(shí)語(yǔ)境，在全球化的大背景下，美國(guó)、日本、韓國(guó)的動(dòng)漫產(chǎn)業(yè)近年來(lái)正在迅速地崛起，日本更是享有“動(dòng)漫王國(guó)”的美譽(yù)，其動(dòng)漫產(chǎn)品受到全球的廣泛關(guān)注。相比于日本動(dòng)漫，我國(guó)動(dòng)漫卻遜色很多，雖在數(shù)量上有了提高，但卻未能真正地走出國(guó)門(mén)。 日本動(dòng)漫《海賊王》自1999年播出以來(lái)就大受歡迎，，其單行本在日本以外亦有30多個(gè)翻譯本發(fā)行，動(dòng)畫(huà)也被翻譯成不同的語(yǔ)言傳播到國(guó)外，吸引了來(lái)自世界各地的受眾，動(dòng)漫《海賊王》能夠廣受世界各地受眾贊譽(yù)與其靚麗的外在是分不開(kāi)的，但在全球化的背景下，這部動(dòng)漫為何能夠?qū)崿F(xiàn)跨文化傳播？這值得我們思考。 本文針對(duì)日本動(dòng)漫《海賊王》在全球廣泛傳播這一現(xiàn)象，以跨文化傳播理論為指導(dǎo)，運(yùn)用文本分析的方法，試圖探究這部動(dòng)漫能夠被不同文化背景的受眾接受的原因，以此為中國(guó)動(dòng)漫的跨文化傳播提供一些借鑒。研究發(fā)現(xiàn)，日本動(dòng)漫《海賊王》在場(chǎng)景選擇、人物角色塑造、主題與情節(jié)設(shè)置等方面融合了多國(guó)的文化元素，它對(duì)東、西方文化進(jìn)行了吸收和改造，并利用文化的接近性和差異性進(jìn)行傳播。此外，這部動(dòng)漫還積極尋求東、西方文化中的契合點(diǎn)，為滿(mǎn)足不同文化背景的受眾需求向我們展現(xiàn)了共享的價(jià)值觀(guān)。這些正是日本動(dòng)漫《海賊王》能夠?qū)崿F(xiàn)跨文化傳播的原因。
[Abstract]:With the gradual rise of visual culture communication, pictures and video communication occupies a large proportion in our life. Animation, as a form of visual culture, plays an important role in cultural communication. At the same time, globalization has become an unavoidable realistic context. In the context of globalization, the animation industry of the United States, Japan and South Korea is rising rapidly in recent years. Japan enjoys the reputation of "animation kingdom", and its animation products have received extensive attention in the world. Compared with Japanese animation, the animation of our country is inferior to that of Japan. Although the quantity has been improved, it has not been able to really go out of the country. The Japanese animation "King of thieves" has been popular since it was broadcast in 1999. More than 30 translations have been published outside Japan. The animation has also been translated into different languages and spread abroad, attracting audiences from all over the world. Animation can be widely praised by audiences around the world and its beautiful external is inseparable, but in the context of globalization, why can achieve cross-cultural communication? This is worth thinking about. Based on the theory of cross-cultural communication and text analysis, this paper attempts to explore the reason why Japanese animation can be accepted by audiences from different cultural backgrounds. This provides some reference for cross-cultural communication of Chinese anime. The study found that Japanese animation "one thief" has integrated cultural elements of many countries in the aspects of scene selection, character shaping, theme and plot setting, and so on. Western culture has been absorbed and transformed, and spread through the proximity and diversity of culture. In addition, the animation is also actively seeking East, Western cultural convergence, In order to meet the needs of the audience from different cultural backgrounds, it shows us shared values. These are the reasons why the Japanese anime "one thief" can achieve cross-cultural communication.
【學(xué)位授予單位】：西南政法大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：G206;J954

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