中国动画受众的情感化设计及审美心理研究

发布时间：2018-05-02 03:31

本文选题：动画 + 受众　；参考：《陕西师范大学》2014年硕士论文

【摘要】：经济全球化和科学技术的发展缩短了人们之间交流的时间和空间,也把各种各样的产品带到了我们身边。在生活中我们越来越多的接触到被设计师和生产者加工过的产品,也把视角慢慢的从产品的实用性放到了实用性和用户体验完美结合的部分。我们不仅仅追求使用的便捷与便利,更多的是注重一个产品的情感附加值。这样看来,对于用户体验的研究课题就显得尤为突出,也成为了产品设计所关注的一个重要领域。用户体验,就是使用者在使用过程中的直观感受,包括产品外形、使用的便捷度、设计过程中加入的情感等等。这些设计从一开始就应该以使用者为核心,把使用者看作是服务的对象,及时的从使用者那里得到关于产品的相关反馈,形成交互式的设计理念和宗旨。那么,如何把这种用户体验或是交互式的设计与动画相结合呢?概括地讲,这主要体现为两个方面：其一,动画设计师应该把以动画的受众为核心,知道动画受众需要的是什么样的动画,包括情节、人物、主题、内涵等等方面,只有这样,才能很好的把握动画受众的诉求,从而针对这种诉求去制作动画；其二,也更重要的一个方面,就是及时的反馈,这种反馈就是受众在体验上述制作之后得出一种直观的感受,包括感官体验、情绪体验、情感体验等等。在此基础上不难发现,动画的设计对象并不仅仅是制作出精良的动画片本身,而应该是从开始制作之前和整个播出过程以及播出完毕之后三个阶段去整体把握受众的各种需求,与受众进行交互式的沟通。而这种交互式的沟通正是现在的很多设计所缺少的,也是急需改善的。许多的国产动画停留在制作层面,没有把动画的制作和受众紧密联系在一起。它更像是一种填鸭式的教学模式,把自己认为对受众有帮助、有意义、有教育目的的东西一股脑的丢给受众,这不仅不利于受众的接受,也不利于动画艺术及相关产业的进步和发展。提到动画产业,众所周知,它的规模和投入比例逐年上升,市场需求也逐年扩大,在文化产业当中也占有相当重要的一席之地。但是,在这种市场经济的催化下,以及大力发展文化产业的政策等因素的作用下,我们并没有发现中国的动画产业取得了什么长足的进步,通俗点说,我们很难发现有哪些动画影片给我们带来眼前一亮的感觉。当然,这是由于多种原因造成的,我们在此并不是要讨论这些,而是通过这种情感化的体验以及受众心理的审美需求等方面的探讨,提出有利于中国动画发展的方案和措施。 “美学的中心问题不是美,而是审美体验”。这句话来自美学学者王一川,它传达了一则信息,美的体验更多的是受众的体验,受众的审美程度决定了对包括动画艺术在内的各种美的需求与认可程度。
[Abstract]:Economic globalization and the development of science and technology shorten the time and space for people to communicate, and bring all kinds of products to us. In our daily life, we have more and more contact with the products that have been processed by designers and producers, and gradually put the perspective from the practicality of products to the perfect combination of practicality and user experience. We not only pursue the convenience and convenience of use, but also focus on the emotional added value of a product. In this way, the research on user experience is particularly prominent and has become an important field of product design. User experience is the intuitionistic feeling of the user in the process of using, including the appearance of the product, the convenience of using, the emotion added in the design process and so on. These designs should take the user as the core from the beginning, regard the user as the object of service, get the relevant feedback about the product from the user in time, form the interactive design idea and aim. So how do you combine this user experience or interactive design with animation? Generally speaking, this is mainly reflected in two aspects: first, animation designers should take the audience of animation as the core and know what kind of animation is needed by the audience of animation, including the plot, characters, theme, connotation and so on. Only in this way, In order to grasp the demands of the animation audience very well, so as to produce animation in response to this demand; second, and more importantly, the timely feedback, this feedback is the audience after experiencing the above production to get a kind of intuitive feeling, Including sensory experience, emotional experience, emotional experience and so on. On this basis, it is not difficult to find that the design object of animation is not only to produce excellent animation itself, but also to grasp the needs of the audience from the beginning of production, the whole broadcast process and the three stages after the broadcast. Communicate interactively with the audience. And this kind of interactive communication is the lack of many designs today, is also in need of improvement. Many domestic animation stay in the production level, did not animation and audience closely linked. It is more like a spoon-fed teaching model. It leaves the audience with what they think is helpful, meaningful, and educational, which is not conducive to the acceptance of the audience. Also not conducive to animation art and related industries progress and development. When it comes to animation industry, it is well known that its scale and investment ratio are increasing year by year, and the market demand is expanding year by year, which also occupies a very important place in the cultural industry. However, under the catalysis of this market economy and the policy of vigorously developing the cultural industry, we have not found any significant progress in the animation industry in China. It is difficult to find out which animated films give us a bright feeling. Of course, this is caused by a variety of reasons, we are not here to discuss these, but through this emotional experience and audience psychological aesthetic needs and other aspects of the discussion, put forward conducive to the development of Chinese animation programs and measures. The central issue of aesthetics is not beauty, but aesthetic experience. This sentence comes from the aesthetic scholar Wang Yichuan, it conveys a message that the experience of beauty is more the experience of the audience, and the aesthetic degree of the audience determines the demand for and recognition of all kinds of beauty, including animation art.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J954

【共引文献】