论中国动画电影的低幼化倾向

发布时间：2018-07-25 16:47

【摘要】：近几年中国电影产业蓬勃发展,从影片的题材类型上看,算得上百花齐放,动画电影作为国产电影中长期以来不受重视的分支,逐渐显现出独特的发展潜力。但多年来国产动画电影没有出现什么令人惊喜的作品,质量低下、模仿痕迹严重的低龄动画却在逐年增多,丛生的乱象中,动画电影低龄化的问题引发越来越多的关注。本文第一部分试图对动画电影低幼化倾向追本溯源,一是探讨中国传播媒介在独特的现代化进程中形成的特殊发展模式给后期动画电影的受众分层造成的巨大影响;二是分析改革开放以后进口动画作品对已形成的受众分层的进一步巩固;三是动画作品日益明显地背离社会公共议题,专注于扁平化、通俗化的个人情感体验表达,致使作品缺乏应有的深度,进而丧失具有较高审美需求的观众。第二部分主要讨论这种低幼化倾向给影视产业乃至整个社会的发展埋下的巨大隐患,既无视市场规则侵害成年观众利益,也对低龄观众的审美人格培养产生负面影响,并且阻碍动画电影的持久发展。第三部分结合近几年出现的多部努力开拓全年龄段市场的作品,分析在当下动画电影领域中,对观众定位和作品定位模糊的情况下,一些试图打破困境的作品主要突围思路,以及在取得一定成效后,依旧无法彻底摆脱低幼化倾向的具体原因。第四部分,围绕国产动画亟需扭转的低幼化倾向和备受关注的中国古典美学与民族风格复归的问题,讨论今后国产动画电影应采取的发展策略。首先,从近几年赢得广泛关注的几部电影入手,论证摆脱低幼化叙事模式的可行性,一方面是表达形式的创新,另一方面是故事要素的完善,能够做到这两点,就可以很大程度地避免低幼化倾向。其次,针对民族风格复兴的问题,先明确新时期水墨动画的不可复制性,再阐明独特的民族风格必须建立在坚实的自我文化身份认同上,应找准传统文化与时代的结合点,切不可盲目“中西融合”。
[Abstract]:In recent years, China's film industry is booming, from the film subject matter type, it can be calculated on a hundred flowers blooming, animation film as a long-neglected branch of domestic films, gradually showing a unique development potential. However, for many years, there are no surprising works in domestic animated films. The low-age animation with low quality and serious imitations is increasing year by year. In the chaos, the problem of the younger age of animation films has attracted more and more attention. The first part of this paper attempts to trace back to the origin of the trend of animation film primary-age. One is to explore the great influence of the special development mode formed by the Chinese media in the unique modernization process on the later animation film audience stratification; The second is to analyze the further consolidation of the existing audience stratification by imported animation works after the reform and opening up; the third is that animation works increasingly deviate from social public issues and focus on flat and popular personal emotional experience expression. As a result, the works lack the proper depth, and then lose the audience with higher aesthetic needs. The second part mainly discusses the huge hidden danger of this tendency of primary-age to the development of the film and television industry and the whole society, which not only infringes the interests of the adult audience, but also has a negative impact on the cultivation of aesthetic personality of the young audience. It also hinders the sustainable development of animated films. In the third part, combining with several works that have appeared in recent years to develop the whole age market, the author analyzes the main ideas of breaking through in the current animation film field, where audience orientation and work orientation are vague, and some works trying to break through the dilemma. And in certain results, still can not completely get rid of the specific reasons for the trend of primary-age. In the fourth part, the author discusses the development strategy of domestic animation film in the future, focusing on the trend of primary-age which needs to be reversed and the restoration of Chinese classical aesthetics and national style. First of all, starting from several movies that have gained wide attention in recent years, the feasibility of getting rid of the primary-age narrative mode is demonstrated. On the one hand, the innovation of the expression form, on the other hand, the perfection of the story elements, can achieve these two points. You can largely avoid the tendency to primary-age. Secondly, aiming at the problem of the revival of national style, it is clear that the ink and wash animation of the new period can not be duplicated, and then the unique national style must be established on the solid self-cultural identity, and the combination of traditional culture and the times should be found. We must not blindly "merge Chinese and Western".
【学位授予单位】：温州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J954

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