中国动画对民族文化资源开发的研究

发布时间：2017-12-28 11:15

本文关键词：中国动画对民族文化资源开发的研究　出处：《安徽工程大学》2016年硕士论文　论文类型：学位论文

【摘要】：随着市场经济时代的来临,当下中国动画的发展进入了瓶颈期。中国动画步入低谷,在国际上的影响力也日益减小。“由于外国文化及观念的涌入,中国动画逐渐失去市场与产业化发展契机,尤其是在民众受外来动画吸引的背景之下,中国动画已经失去了原有的光环,变得被动起来。”原创力的缺失是中国动画最大的弊端。当下的大部分中国动画都在模仿国外的创作模式,不仅是形式上的模仿,甚至于思想内涵上也趋于相同。如果我们制作的每一部动画能看到的都只是美国或日本动画的仿制品,那么,久而久之,观众将会失去对国产动画的信心与兴趣,中国动画的本质也会因外来文化的冲击与挑战发生改变。通过调查可知,上个世纪50年代到80年代是中国动画发展最辉煌的时代。诸如《神笔马良》、《大闹天宫》、《哪咤闹海》、《三个和尚》、《山水情》等一大批优秀的动画作品,不仅在本土深受观众喜爱,在国际上也屡获大奖。中国独创的“水墨动画”一问世,便引起了整个动画界的赞叹。那个年代的中国动画不仅数量众多,题材丰富,形式多样,而且民族特色鲜明,本土化气息浓郁。中国美术电影多以古典小说、寓言、民间故事以及古代神话为题材,使其蒙上了一层东方神秘的面纱。在美术风格设计工作中,版画、年画、皮影、剪纸、壁画以及传统绘画等均是动画工作者的灵感源头,带有中国古老文化的设计,具有鲜明的民族特色以及传统民族积淀千年的审美意趣,其间反映出的内涵与深厚哲理,更是让观者赞叹。在音乐设计上,力求韵味独特、雅俗兼并,通常采用将民乐与戏曲音乐结合的手法。在动作设计上,借用了中国传统戏曲表演动作,皮影戏表演动作以及中国功夫等,独具特色,别有风味。在思想内涵上,继承发扬了中华民族的传统美德；在主题上深入挖掘民族文化心理和精神本质,体现了中华民族自身的价值观。中国美术电影因为其独特的艺术魅力在国际影坛上取得了傲人的成绩,被西方学者们冠以“中国学派”这一称号。“中国学派”标志着我国美术电影的最高水准,它以民族风格为创作的根本,强调的是创新及与时俱进,它从形式与内容两个方面进行创新,在保留中国传统动画本质的前提下,对其面貌进行了深入的改革,使其具备深厚的信念、哲理与民族风格。多年以来,“中国学派”始终坚守着“设计民族风格的中国动画”这一信念,正是他们这种坚持与毅力,奠定了中国动画与美术电影在国际影坛上举足轻重的地位,是艺术家们复兴动画片、振兴东方传统文化的希望与榜样。“中国学派”对民族文化的开发利用是中国早期动画取得成功的前提。中国作为四大文明古国之一,见证了千年的岁月流逝,承载的神秘的、具有民族特色的东方文化,它所具有的艺术魅力也是令人惊叹的。动画创作者应从全局出发,以浩瀚的民族文化为基础,力求设计出有独具韵味且有民族特色的动画作品。
[Abstract]:With the advent of the era of market economy, the current development of Chinese animation has entered a bottleneck period. Chinese animation has entered a low valley, and its influence in the world is decreasing. "Due to the influx of foreign culture and ideas, Chinese animation has gradually lost the opportunity of market and industrial development. Especially in the context of attracting foreign animation, Chinese animation has lost its original aura and becomes passive. The lack of original power is the biggest disadvantage of Chinese animation. Most of the current Chinese animations are imitating the creative modes of foreign countries, not only in the form of imitation, but also in the same ideological content. If every animated product we can see is only a copy of American or Japanese animations, then the audience will lose confidence and interest in domestic animation over time, and the essence of Chinese animation will also change because of the impact and challenge of foreign culture. Through the survey, we can see that the 50s to 80s of last century is the most brilliant development of Chinese animation. Such as "magic brush", "heaven", "sea", nazha make "three monks", "landscape love" and a large number of outstanding animation works, not only in the local popular audience favorite, also in the international award-winning. China's original "ink animation" has come out, and it has aroused the admiration of the whole animation world. The Chinese animation in that time was not only a large number, rich in subject matter and varied in form, but also with distinctive national characteristics and rich native flavor. The Chinese art films are mostly based on classical novels, fables, folktales and ancient myths, which make it a mysterious oriental veil. In the style of art design, printmaking, shadow, paper-cut, murals, New Year paintings and traditional painting are the source of inspiration of animation workers, with the design Chinese ancient culture, with distinctive ethnic characteristics and traditional ethnic heritage Millennium aesthetic charm, which reflects the connotation and profound philosophy, is to let the audience praise. In the music design, unique charm, elegance and strive to mergers, usually the means of combining the folk music and opera music. In the action design, borrowed Chinese traditional opera acting, shadow play acting and China Kung Fu, unique, have a distinctive flavour. In the ideological connotation, inherit and carry forward the traditional virtues of the Chinese nation; and tap the national cultural psychology and spiritual essence on the theme, reflecting the Chinese nation's own values. Because of its unique artistic charm, Chinese art film has made a proud achievement in the international film world, which has been called the title of "Chinese School" by western scholars. "China school" marks the highest level of China's art film, with its national style for the creation of a fundamental, stresses innovation and keep pace with the times, from two aspects of its form and content innovation, while retaining the essence of traditional animation Chinese, in-depth reform of its appearance, it has profound faith, philosophy and national style. Over the years, always adhere to the "Chinese school", "the belief that design of national style Chinese animation", it is their persistence and perseverance, laid the China animation and art film plays an important role in the international film industry status, is the Renaissance artists animation, hope and the revitalization of the traditional oriental culture model. The development and utilization of the national culture by the "Chinese School" is the prerequisite for the success of the early Chinese animation. As one of the four ancient civilizations, China has witnessed thousands of years of passage, carrying mysterious and national characteristics of Oriental culture, and its artistic charm is amazing. The animation creator should start from the overall situation, based on the vast national culture, and strive to design the animation with unique charm and national characteristics.
【学位授予单位】：安徽工程大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J954

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