国产民俗题材动画影像与民俗文化统一性研究
发布时间：2018-11-11 19:59
【摘要】：上海美术电影制片厂作为中国最重要的动画电影制作基地，在上世纪享誉全球，拍摄的作品有48部在国内获奖69次，有45部在国际获奖73次。抛下技术和市场层面不谈，上海美术电影制片厂的作品成功之处主要是题材选择方面以民俗文化为主。该厂在1958年拍摄完成了第一部剪纸动画片《猪八戒吃西瓜》，1960年完成第一部水墨动画片《小蝌蚪找妈妈》，当年，又完成推出了第一部折纸片《聪明的鸭子》。从这诸多的第一个我们可以看出，上海美术电影制片厂的选材大多来源于中国最具特色的民俗文化，如剪纸、皮影戏、水墨画等等，这些题材的选择既可以满足国内观众对于民俗文化的认同，又使全球观众有机会观赏到中国的民俗文化，因此，这些作品获得广泛赞誉就不足为奇了。 本文就动画影像与民俗文化的统一性作为研究对象，对动画与民俗文化相结合的历史根源、现状以及困难和出路进行深入探索。第一章是绪论部分，主要分析说明了该论文的选题背景和研究概况。第二章开始，重点在于研究民俗文化的特征，即神秘性、传说性、图腾性和传统性四方面，并通过《葫芦娃》作为案例进行深入研究。第三章主要是对动画影像的民俗文化进行剖析，，包括动画影像从皮影戏、剪纸和汉画像中继承的动画元素；动画影像的民俗文化因素，即本土文化内涵和民俗文化价值；动画影像民俗文化形成的原因（民族文化的影响，民风民俗的熏陶，民族性格的渗透以及地域条件的差异）。第四部分包括分析民族文化在动画中的窘境，例如将民俗文化曲解化或狭义化，动画作品中往往照搬外国动画的原型等等。以及解决这些问题的建议，例如从民俗的角度进行提升和改进，灵活的应用动画中的民俗性，民俗性在动画中要达到内外兼修等等。最后一章是对本文的总结。
[Abstract]:As the most important animation production base in China, Shanghai Fine Arts Film Studio has gained worldwide fame in the last century, with 48 films winning 69 awards in China and 45 winning 73 international awards. Leaving aside the technical and market aspects, the main success of the works of Shanghai Fine Arts Film Studio is the folklore culture. In 1958, the factory completed the first paper-cut cartoon "Zhu Bajie eat Watermelon", in 1960 completed the first water and ink cartoon "Little tadpole looking for Mother", then, completed the production of the first origami film "Smart Duck". From the first of these many, we can see that most of the materials selected by the Shanghai Fine Arts Film Studio come from the most distinctive folk culture in China, such as paper-cut, shadow play, ink painting, and so on. The choice of these subjects can not only satisfy the domestic audience's recognition of the folk culture, but also give the global audience the opportunity to enjoy the Chinese folk culture. Therefore, it is not surprising that these works have won wide acclaim. In this paper, the unity of animation image and folk culture as the object of study, the combination of animation and folk culture of the historical root, the current situation, difficulties and ways out for in-depth exploration. The first chapter is the introduction, which mainly explains the background and research situation of this thesis. The second chapter focuses on the characteristics of folk culture, namely mystery, legend, totem and tradition. The third chapter mainly analyzes the folk culture of animation image, including the animation elements inherited from shadow play, paper-cut and Han portrait, the folk culture factor of animation image, that is, the connotation of native culture and the value of folk culture. The reasons for the formation of folk culture in animation image (the influence of national culture, the influence of folk custom, the infiltration of national character and the difference of regional conditions). The fourth part includes the analysis of the dilemma of national culture in animation, such as the distortion of folk culture or narrow sense, animation works often copy the archetype of foreign animation and so on. And the solutions to these problems, such as from the perspective of the promotion and improvement of folklore, flexible application of animation in the folklore, folklore in animation to achieve both internal and external repair, and so on. The last chapter is the summary of this paper.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J954;K892
本文编号：2325970
[Abstract]:As the most important animation production base in China, Shanghai Fine Arts Film Studio has gained worldwide fame in the last century, with 48 films winning 69 awards in China and 45 winning 73 international awards. Leaving aside the technical and market aspects, the main success of the works of Shanghai Fine Arts Film Studio is the folklore culture. In 1958, the factory completed the first paper-cut cartoon "Zhu Bajie eat Watermelon", in 1960 completed the first water and ink cartoon "Little tadpole looking for Mother", then, completed the production of the first origami film "Smart Duck". From the first of these many, we can see that most of the materials selected by the Shanghai Fine Arts Film Studio come from the most distinctive folk culture in China, such as paper-cut, shadow play, ink painting, and so on. The choice of these subjects can not only satisfy the domestic audience's recognition of the folk culture, but also give the global audience the opportunity to enjoy the Chinese folk culture. Therefore, it is not surprising that these works have won wide acclaim. In this paper, the unity of animation image and folk culture as the object of study, the combination of animation and folk culture of the historical root, the current situation, difficulties and ways out for in-depth exploration. The first chapter is the introduction, which mainly explains the background and research situation of this thesis. The second chapter focuses on the characteristics of folk culture, namely mystery, legend, totem and tradition. The third chapter mainly analyzes the folk culture of animation image, including the animation elements inherited from shadow play, paper-cut and Han portrait, the folk culture factor of animation image, that is, the connotation of native culture and the value of folk culture. The reasons for the formation of folk culture in animation image (the influence of national culture, the influence of folk custom, the infiltration of national character and the difference of regional conditions). The fourth part includes the analysis of the dilemma of national culture in animation, such as the distortion of folk culture or narrow sense, animation works often copy the archetype of foreign animation and so on. And the solutions to these problems, such as from the perspective of the promotion and improvement of folklore, flexible application of animation in the folklore, folklore in animation to achieve both internal and external repair, and so on. The last chapter is the summary of this paper.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J954;K892
【参考文献】
相关期刊论文 前1条
1 杨云峰;;戏剧情境解说[J];戏剧之家;2002年01期
本文编号：2325970
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