中美动画形象比较研究

发布时间：2018-04-08 22:20

本文选题：动画形象　切入点：价值取向　出处：《浙江师范大学》2012年硕士论文

【摘要】：动画形象是动画片的灵魂,在动画片的制作流程中,角色的造型设计占有极其重要的位置。一部成功的动画影片必须有好的角色造型,才能充分地展现出影片的故事情节及典型环境中的典型人物。优秀的动画形象不仅具有艺术性,还具有很大的商业价值。动画作为承载文化意识形态的特殊艺术创作形式,从诞生就得到观众的关注和喜爱,随着动画技术的飞速发展和动画内容的日益变化,动画产业链也在逐渐形成和成熟。中国的动画片想要在动画市场上占据一席之地,带动相关产业链的良性循环发展,动画形象是关键。动画源远流长,深受本国文化思想的影响,动画形象往往反映的是本民族的性格特征。而如今,在与美国、日本这样的动画强国共存的时代,中国动画一直在不断模仿和重复国外的优秀动画,渐渐地丧失了自己的风格。国外的风格即使模仿得再好,但是缺乏对文化的深层次理解,只能流于肤浅的表面,形似而神不似。我们要反思当代动画创作陷入民族风格和审美价值丧失的种种原因,在今后的动画创作中,继续坚持作品的民族化与本土化,提高国产动画的创作质量。本论文用类比方法剖析中美经典动画影片中的角色形象,对其形象塑造的特征性和文化根源进行探究,分析动画形象元素的艺术特征,并将两国的动画形象进行比较,用马克思主义历史观和美学观来探析造成两国动画形象差异的文化根源。论文由五部分组成：在第一章中对“动画”和“动画形象”的概念进行了阐述,并将中美两国动画的发展历程进行了梳理,提出了动画艺术特征及其文化意义；在第二章中从动画形象的性格、行为和台词方面入手,分析了经典形象的艺术性和符号特征；本文的第三、四、五章是重点也是难点,首先在第三章中对比了中美动画形象在创新意识上的差异,得出只有具有创意的动画才能获得成功；进而在第四、五章中对中美文化的价值取向和审美价值进行了阐述,例举了具有代表性和说明性的经典动画,通过横向对比动画中的角色,分析两者之间的差异,提炼和挖掘两国的文化对动画产生的影响,探求中国动画落后的原因,希望借由学习国外的成功经验,对中国动画在观念更新和形象创意上能够有更为深远的指导意义。在本文的结语部分,对我国动漫产业的发展提出了几点建议,要追求形象的真实性,改变传统观念,拓宽受众范围,迎合观众的审美需求,树立国人自己的动画形象品牌。
[Abstract]:Animation image is the soul of animation, in the animation production process, the role of modeling design occupies an extremely important position.A successful animated film must have good character modeling, in order to fully show the story of the film and typical characters in the typical environment.Excellent animation image is not only artistic, but also of great commercial value.Animation, as a special form of artistic creation carrying cultural ideology, has been concerned and loved by the audience since its birth. With the rapid development of animation technology and the increasing change of animation content, animation industry chain is gradually formed and mature.Animation image is the key to the development of animation industry chain in China.Animation has a long history and is deeply influenced by national culture.Now, in the era of coexistence with American and Japanese animation powers, Chinese animation has been constantly imitating and repeating foreign excellent animation, gradually losing its own style.Foreign style, however well imitated, lacks a deeper understanding of culture and can only be seen on a superficial surface, similar in shape but not in spirit.We should reflect on the various reasons for the loss of national style and aesthetic value in contemporary animation creation, and continue to persist in the nationalization and localization of works in the future animation creation, and improve the quality of domestic animation creation.This paper uses analogy method to analyze the character image in the Chinese and American classic animation films, explores the characteristics and cultural roots of its image shaping, analyzes the artistic characteristics of the animation image elements, and compares the animation images of the two countries.Using Marxist view of history and aesthetics to explore the cultural roots of the differences in animation images between the two countries.The thesis consists of five parts: in the first chapter, the concepts of "animation" and "animation image" are expounded, and the development course of animation between China and the United States is combed, and the artistic features of animation and its cultural significance are put forward.In the second chapter, the author analyzes the artistic and symbolic characteristics of the classic image from the aspects of character, behavior and lines of the animation image, and the third, fourth and fifth chapters are the key points and difficulties.In the third chapter, the author compares the differences of Chinese and American animation images in innovation consciousness, and draws the conclusion that only creative animation can achieve success, and then, in the fourth and fifth chapters, the value orientation and aesthetic value of Chinese and American culture are expounded.This paper gives an example of the representative and illustrative classic animation, analyzes the differences between the two, extracts and excavates the influence of the cultures of the two countries on the animation, and explores the reasons for the backwardness of the Chinese animation through the horizontal comparison of the characters in the animation.It is hoped that by studying the successful experience of foreign countries, it will have more profound guiding significance for Chinese animation in concept renewal and image creativity.In the conclusion of this paper, some suggestions are put forward for the development of animation industry in China. We should pursue the authenticity of the image, change the traditional concept, widen the range of the audience, cater to the aesthetic needs of the audience, and set up our own brand of animation image.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J954

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