中美动画电影叙事比较研究

发布时间：2018-05-03 13:06

本文选题：动画电影 + 叙事　；参考：《复旦大学》2013年博士论文

【摘要】：本论文的重点是中美动画电影在叙事方面的差异。叙事属于艺术范畴,市场属于经济范畴,但在动画电影的消费市场上,叙事和市场却十分紧密地联系在一起。在具体的论述中,本论文主要探讨了以下问题：前言部分主要梳理了中国动画电影的发展现状、中外动画电影相关研究现状及理论要点,指出了该研究的现实意义和理论意义以及尝试解决的主要问题,使用的主要研究方法。第一章主要论述动画电影语言,区分了动画电影和真人电影之间的本质差异。认为动画电影彻底摆脱了真人电影时间、空间、外在形象的限制,艺术家可以在自己的想象王国里纵横驰骋,动画电影成为视觉艺术表达最为自由和科技含量最高的语言。借助于动画电影基本的语言要素：材料、时空、色彩、节奏,进行拟人化和夸张化的表现,各国的动画电影形成各具特色的风格。第二章主要分析中美动画电影在题材来源和母题上差异。认为尽管我国文化资源丰富,但是中国动画电影对文化资源的使用却有很大的局限。在国际动画电影市场中,依然是高级生产要素决定低级生产要素。中美动画电影题材和母题的差异说明,方面尽管中国传统文化资源丰富,但在动画电影的题材和母题选择上十分单调和保守；另一方面,好的题材也需要创造性的表现手法,需要与当下的审美趣味相契合。第三章主要分析中美动画电影的角色差异,以及差异产生的原因。认为美国动画角色造型夸张、简洁,有趣滑稽；中国动画角色有着很强的装饰美感,多来源于中国传统艺术,如古代壁画、绘画、京剧、民间艺术等。从动画电影角色的性格来看,美国动画电影中的英雄人物都是圆形人物,而中国则多扁平型人物。第四章主要分析中美动画电影在叙事结构上的差异,阐述中美动画电影叙事结构的“变”与“不变”,探讨“变”与“不变”的启示意义。认为美国动画电影叙事结构存在“平衡——再平衡”模式；中国动画电影则延续了二元对立式传统戏剧结构。相较而言,美国动画电影是对程式化叙事结构表现方式创新的先行者,中国动画电影在叙事结构的创新和表现方式的创新上,显得创新性不足。第五章主要分析动画电影叙事与技术之间的关系。技术的产生是为了满足人类的需求,但反过来也创造需求。当前,技术已经带来了动画电影美学风格和叙事方式的变革。叙事的变革主要表现在角色的创新、主题的创新以及丰富了动画电影的视听语言；美学风格的创新主要是动画电影创造了“后现代视觉奇观”。结语主要从题材、母题、角色、结构、技术等角度总结了中国动画电影的叙事特征与寻求突破的方向。
[Abstract]:This thesis focuses on the narrative differences between Chinese and American animated films. Narrative belongs to the category of art and the market belongs to the category of economy, but in the consumer market of animated film, narrative and market are closely linked. In the specific discussion, this paper mainly discusses the following problems: the foreword mainly combs the development status of Chinese animation film, the related research status and the main points of theory of Chinese and foreign animation film. The paper points out the practical and theoretical significance of the study, the main problems and the main research methods used. The first chapter mainly discusses the language of animated film, and distinguishes the essential difference between animated film and real action film. It is considered that animation film has completely got rid of the limitation of time, space and external image of real man film, and artists can roam in their imagination kingdom, and animation film has become the language with the freest expression and the highest science and technology content in visual art. With the help of the basic language elements of animation film: material, time and space, color, rhythm, personification and exaggeration, the animation films of various countries form their own distinctive styles. The second chapter mainly analyzes the differences between Chinese and American animated films in terms of source of subject matter and motif. Though China is rich in cultural resources, the use of cultural resources by Chinese animated films is very limited. In the international animation film market, it is still the high production factors that determine the lower production factors. The differences between the themes and motifs of Chinese and American animated films show that, despite the abundance of traditional Chinese cultural resources, the choice of subjects and motifs of animated films is very monotonous and conservative; on the other hand, good subjects also require creative techniques of expression. Need to fit with the aesthetic taste of the present. The third chapter mainly analyzes the role differences between Chinese and American animated films and the causes of the differences. The author thinks that the American animated characters are hyperbole, concise and funny, and the Chinese animated characters have a strong decorative aesthetic feeling, mostly from the traditional Chinese art, such as ancient murals, paintings, Beijing opera, folk art and so on. According to the character of animated movie characters, the heroes in American animation films are round characters, while in China they are more flat characters. The fourth chapter mainly analyzes the differences in narrative structure between Chinese and American animated films, expounds the "change" and "invariance" of the narrative structure of Chinese and American animated films, and probes into the enlightening significance of "change" and "invariance". The author thinks that the narrative structure of American animation film has the pattern of "balance-rebalance", while the Chinese animation film continues the dual-opposites traditional drama structure. In contrast, the American animation film is the pioneer of the innovation of the stylized narrative structure, but the Chinese animation film is deficient in the innovation of the narrative structure and the way of expression. The fifth chapter mainly analyzes the relationship between narrative and technology in animated films. Technology is created to meet human needs, but in turn creates needs. At present, the technology has already brought the animation movie esthetics style and the narrative way transformation. The innovation of narrative is mainly reflected in the innovation of characters, the innovation of themes and the enrichment of audio-visual language of animated films, while the innovation of aesthetic style is mainly the creation of "postmodern visual wonders" by animated films. The conclusion summarizes the narrative characteristics of Chinese animated films and the direction of breakthrough from the perspectives of subject matter, motif, role, structure, technology and so on.
【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J954

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