【摘要】： 近年來,文化產(chǎn)業(yè)在全球范圍內(nèi)的凸興已是一個(gè)不爭的事實(shí)。在此背景下,數(shù)字藝術(shù)產(chǎn)業(yè)也取得了可觀的發(fā)展。與發(fā)達(dá)國家和地區(qū)相比,我國海峽兩岸的數(shù)字藝術(shù)產(chǎn)業(yè)都起步不久,尚未形成巨大的效應(yīng)。不過,近年來海峽兩岸都出臺了很多關(guān)于發(fā)展文化產(chǎn)業(yè)的政策,這為數(shù)字藝術(shù)產(chǎn)業(yè)的勃興創(chuàng)造了機(jī)會。 本文所說的數(shù)字藝術(shù),是指以數(shù)字媒介為生產(chǎn)、傳播和接受工具,實(shí)現(xiàn)了以“0”和“1”為編碼與解碼原則的藝術(shù);其產(chǎn)業(yè)化受惠于大眾文化、消費(fèi)文化在全球范圍內(nèi)的風(fēng)靡與流行。從社會定位來講,數(shù)字藝術(shù)產(chǎn)業(yè)是文化產(chǎn)業(yè)的一個(gè)分支。就表現(xiàn)形態(tài)來看,數(shù)字藝術(shù)產(chǎn)業(yè)主要有七種形式,即:互聯(lián)網(wǎng)藝術(shù)產(chǎn)業(yè)、手機(jī)媒體藝術(shù)產(chǎn)業(yè)、數(shù)字電影產(chǎn)業(yè)、動漫產(chǎn)業(yè)、數(shù)字電視產(chǎn)業(yè)、游戲產(chǎn)業(yè)、DV藝術(shù)產(chǎn)業(yè)。本文主要就前面四種數(shù)字藝術(shù)產(chǎn)業(yè)進(jìn)行比較研究。其中,對互聯(lián)網(wǎng)藝術(shù)產(chǎn)業(yè)和手機(jī)媒體藝術(shù)產(chǎn)業(yè)的分析分別以網(wǎng)絡(luò)文學(xué)和短信文學(xué)的產(chǎn)業(yè)化為重點(diǎn),而對動漫產(chǎn)業(yè)的分析則主要以動畫片的生產(chǎn)為重點(diǎn)。 大體來看,海峽兩岸數(shù)字藝術(shù)產(chǎn)業(yè)存在下述相似之處:在藝術(shù)生產(chǎn)方面,主題、風(fēng)格及產(chǎn)業(yè)模式均存在“敘事"趨同傾向。在藝術(shù)傳播方面,存在接受同步情況,一是指數(shù)字藝術(shù)在媒介的幫助下,在“第一時(shí)間”、以“第一現(xiàn)場”的形式在兩岸同步傳播;二是指境外的數(shù)字藝術(shù)在海峽兩岸同步傳播。在藝術(shù)接受方面,存在“消費(fèi)共鳴”現(xiàn)象。比如,李安導(dǎo)演的《臥虎藏龍》,張藝謀導(dǎo)演的《英雄》在兩岸都獲得了高票房的收入,引起了廣泛的共鳴。 誠然,海峽兩岸數(shù)字藝術(shù)產(chǎn)業(yè)這三種相似之處是各種因素綜合作用的結(jié)果。以“敘事”趨同為例,它既是全球化背景下“敘事”趨同的體現(xiàn)和反映,也與數(shù)字藝術(shù)的產(chǎn)業(yè)化操作有關(guān)。不過,總的來看還是受媒介影響的結(jié)果。比如,兩岸手機(jī)短信文學(xué)語言的詩性特征,從根本上來說是受手機(jī)媒介限制、影響的結(jié)果,即每條短信只能發(fā)送70個(gè)漢字。又以“接受同步”為例,它的出現(xiàn)也與很多因素有關(guān),比如防盜版、防泄密的需要等。但是,以互聯(lián)網(wǎng)為代表的數(shù)字媒介的應(yīng)用才是問題的關(guān)鍵。同樣,“消費(fèi)共鳴”的出現(xiàn)也是各種因素綜合作用的結(jié)果。不過,文化是一個(gè)很關(guān)鍵的因素。因?yàn)?從接受美學(xué)的角度來看,兩岸數(shù)字藝術(shù)接受過程中共鳴的產(chǎn)生,與兩岸人民具有相同的文化心理結(jié)構(gòu)這一事實(shí)具有不可分割的聯(lián)系。一般而言,受眾的文化心理結(jié)構(gòu)相同或相似,就比較容易產(chǎn)生心理上的共鳴。 本文認(rèn)為,海峽兩岸之間的任何比較研究,無論是政治、經(jīng)濟(jì)方面的比較研究,還是文化、藝術(shù)方面的比較研究,都應(yīng)有一個(gè)歷史啟示和歸宿,即我們應(yīng)在探討相關(guān)論題歷史淵源和發(fā)展現(xiàn)狀的基礎(chǔ)上,為兩岸之間的交流與合作提供有意義的分析和借鑒。畢竟,在海峽兩岸交流日趨頻繁的今天,走向融合和統(tǒng)一已是大勢所趨,學(xué)術(shù)的研究也應(yīng)該履行共同的民族職責(zé)和使命,為創(chuàng)造一個(gè)和平、繁榮的中國而努力。因此,本文最后從全球化的角度簡要闡述了兩岸數(shù)字藝術(shù)產(chǎn)業(yè)交流與合作的重要性,它包括資金、技術(shù)、人才培養(yǎng)等方面的內(nèi)容。
[Abstract]:In recent years, the cultural industry has been an indisputable fact in the global scope. In this context, the digital art industry has also achieved considerable development. Compared with the developed countries and regions, the digital arts industry across the two sides of the Taiwan Straits has not yet formed a huge effect. In recent years, however, a number of policies on the development of cultural industry have been introduced on both sides of the Taiwan Straits, which has created an opportunity for the development of the digital art industry. The digital art in this paper refers to the art of the principle of coding and decoding with the "0" and the "1" as the production, transmission and acceptance of the digital media. The industrialization of the digital art has benefited from the popular culture and the popular culture in the world. In terms of social positioning, the digital art industry is one of the cultural industries In the form of performance, the digital art industry has seven forms: the Internet art industry, the mobile phone media art industry, the digital film industry, the animation industry, the digital television industry, the game industry and the DV technology. The paper mainly compares the four kinds of digital art industry in the front More research, in which, the analysis of the Internet art industry and the mobile phone media art industry is focused on the industrialization of the network literature and the short message literature, and the analysis of the animation industry mainly takes the production of the cartoon In general, the cross-strait digital art industry has the following similarities: in the aspect of art production, the theme, the style and the industry pattern have the "trunk>" negative " The tendency of convergence. In the aspect of artistic communication, there is the acceptance of the synchronization. The first is that the digital art, with the help of the media, is in the form of "first time" on both sides of the strait, and the other is the digital art outside the sea. On both sides of the isthmus, there is a

"rest of consistency" < / unk> phenomenon. For example, Li 'an director's , Zhang Yimou's" hero "has got high box office income on both sides of the cross-strait. It is true that the three similarities of the digital art industry across the Taiwan Straits are: The result of the comprehensive effect of various factors. Taking "narrative" convergence as an example, it is not only the reflection and reflection of the "narrative" convergence in the background of globalization, but also the number It is related to the industrialization of the art. However, the total It is also the result of the influence of the media. For example, the poetic features of both cross-strait mobile phone short message literature language are fundamentally limited by the media of the mobile phone and the result of the influence, that is, each The short message can only send 70 Chinese characters. Taking "Accept synchronization" as an example, its appearance is also related to many factors, such as Anti-theft, anti-disclosure requirements, etc. However, digital media represented by the Internet The application of the medium is the key to the problem. In the same way, the appearance of the narrative "is also The results of the comprehensive effects of various factors. However, The culture is a key factor, because, from the point of view of the acceptance of the aesthetics, the generation of the resonance in the process of the acceptance of the digital art of the two sides has the same cultural and psychological structure as the people of the two sides. The fact has an integral connection. In general, the cultural and psychological structure of the audience is the same or similar, as is the case This paper holds that any comparative study between the two sides of the Taiwan Straits, whether in the comparative study of the political and economic aspects, or the comparative study of the culture and the arts, should have a historical enlightenment and a result, that is, we should explore the correlation. On the basis of the historical origin and development of the thesis, it is the intersection between the two sides After all, as the cross-strait exchange is becoming more and more frequent, the trend of integration and unity is the trend of the trend, and the academic research should also fulfill the common national responsibility and mission. To create a peaceful and prosperous China, this paper gives a brief account of the importance of the exchange and cooperation of the digital art industry between the two sides from the angle of globalization.
【學(xué)位授予單位】：廈門大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2008
【分類號】：G124

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本文編號：2440921