国产长篇动画的民族性问题研究

发布时间：2018-08-20 09:03

【摘要】：20世纪中期国产动画曾形成独步天下的“中国动画学派”,创造了具有浓郁民族风格的经典作品《大闹天宫》、《哪吒闹海》等,给后来很多享有国际声誉的国外动画创作者带去深远的影响。20世纪80年代到90代初,少量颇具好评的长篇动画作品没能阻止国产长篇动画逐渐衰落的趋势,我国的动画市场逐渐被日本和美国长篇动画占据。而民族性的缺失便是导致国产长篇动画衰败的主要因素,也使得中国动画在世界上失去了话语权。近十年来,国产长篇动画继续徘徊于低谷之中,虽然也有弥足珍贵的进步,但仍举步维艰,存在着很多问题。而我国研究长篇动画的著作却是少之又少,是动画理论研究的薄弱环节。因此以国产长篇动画作品为依托,从动画民族性这一角度出发,对国产长篇动画进行分析研究的意义重大。论文主要分五部分逐一研究国产长篇动画的民族性问题。即引言、国产长篇动画民族风格的形成与发展、国产长篇动画民族性的呈现方式、对国产长篇动画民族性未来发展的几点思考以及结束语。论文第一章引言介绍了研究的缘起、现状、内容以及创新之处。接着第二章从民族风格的开端出发详细分析国产长篇动画民族风格的形成与发展,在这里将分为民族风格的形成、发展、成熟、迷失以及逐渐找回这五个阶段来进行阐述,逐一梳理。进而在第三章阐述国产长篇动画民族性的一些具体呈现方式,这一章是论文的重点,拟从民族特色题材、民族文化符号以及传统的叙事艺术三大方面集中进行探究。动画的民族性首先呈现在题材上,中国丰富多彩的古典文化资源一直是其他国家不可企及的优势,它为长篇动画的选题提供了源源不断的能量。其次中国源远流长的文化也带来了具有民族特色的文化符号。只要长篇动画制作者在人物角色、造型、动画背景、音乐等方面加以正确运用,这部动画作品一定会吸引观众、获得好评的。同时我们中国古代文人在创作文学作品时讲究的“起、承、转、合”以及“冲突”的叙事模式也被动画创作者吸收利用在长篇动画上,从而使得作品更加扣人心弦,满足观众的欣赏趣味和审美情趣。最后在第四章做一个小结,通过前几章的分析研究提出对国产长篇动画民族性未来发展的几点思考。对于怎样重拾民族风格,使得国产长篇动画重整威风提出几点有效的建议。首先,国产长篇动画不能缺少民族性,但同时应该跟时代接轨,具有时代性。其次,《秦时明月》等国产长篇动画作品的成功也告诉我们,树立正确的创作观念及定位是必不可少的因素。最后,国产长篇动画要想重新在世界上获得话语权,创新便是当务之急。
[Abstract]:In the middle of the 20th century, domestic animation formed a unique "Chinese animation school", which created classic works with strong national style, such as "making trouble in Heaven", "Nezha making waves", and so on. It brought profound influence to many foreign animation creators who later enjoyed international reputation. From the 1980s to the early 1990s, a small number of well-received long animation works failed to stop the gradual decline of domestic long animation. The animation market of our country is gradually occupied by Japanese and American long-length animation. The lack of nationality is the main factor leading to the decline of domestic long-length animation, which also makes Chinese animation lose its right to speak in the world. In the past ten years, domestic long animation continues to linger in the valley, although there is also precious progress, but still difficult, there are many problems. But our country studies the long-length animation work is rare, is the animation theory research weak link. Therefore, it is of great significance to analyze and study domestic long-length animation from the angle of nationality of animation based on long-length animation works made in China. The paper is divided into five parts, one by one to study the national characteristics of domestic long-length animation. That is, introduction, the formation and development of the national style of the domestic long animation, the presentation of the national character of the domestic long animation, some thoughts on the future development of the national character of the domestic long animation and the concluding remarks. The first chapter introduces the origin, current situation, content and innovation of the research. Then the second chapter analyzes the formation and development of the national style from the beginning of the national style, which will be divided into five stages: the formation, the development, the maturity, the lost and the gradual retrieval of the national style. Sort it out one by one. Then in the third chapter, the author expounds some specific ways of presenting the national character of domestic long animation. This chapter is the focus of the paper, which focuses on the theme of national characteristics, the symbol of national culture and the traditional narrative art. The nationality of animation is first presented in the subject matter. China's rich and colorful classical cultural resources have always been the unreachable advantage of other countries. It provides a continuous source of energy for the selection of long animation topics. Second, China's long history of culture also brought with national characteristics of the cultural symbols. As long as the long animation producer in character, modeling, animation background, music and other aspects of the correct use, this animation will attract the audience, won praise. At the same time, our ancient Chinese literati's narrative patterns of "starting, accepting, turning, combining" and "conflict" when they create literary works are also absorbed by animation creators and used in long animation, thus making the works more exciting. To satisfy the appreciation and aesthetic taste of the audience. Finally, a summary is made in the fourth chapter, and through the analysis and research of the previous chapters, some thoughts on the future development of the national character of domestic long-length animation are put forward. For how to regain the national style, make domestic long-length animation regrouping some effective suggestions. First of all, domestic long-length animation can not be lack of nationality, but should be in line with the times, with the times. Secondly, the success of long domestic animation works, such as "Qin and Ming Moon", also tells us that it is necessary to set up correct creative concept and position. Finally, domestic long-length animation in order to regain the right to speak in the world, innovation is the top priority.
【学位授予单位】：信阳师范学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J954

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