日本“电视动画”的受众策略研究

发布时间：2018-05-24 09:10

本文选题：动画 + 电视动画　；参考：《山东艺术学院》2011年硕士论文

【摘要】：电视动画是在电视上播映的动画，也是日本动画中数量最多、受众范围最大、影响时间最长、产值效益最高的动画类型。目前公认的日本电视动画的创立者是手冢治虫，他于1963年制作了日本第一部电视动画《铁臂阿童木》。日本电视动画风格特征与欧美动画不尽相同，有着对比鲜明的画面，写实的背景，个性鲜明的人物，曲折的故事情节，丰富的音乐和立体的声音多姿多彩的图像。日本电视动画为日本动漫打通了走向世界的道路，世界一半以上的动漫产品均出自日本。根据我国视频网站优酷的统计数据，当日播放最多的动画有90%以上是日本电视动画；改编自鸟山鸣同名漫画的电视动画《七龙珠》则在60多个国家和地区播出。由于播放时间等原因，日本电视动画的收视率波动较大，但是优秀的电视动画总能在世界范围内获得较高的收视率，比如《机动战士高达》，在全球的总收视率高达13.2亿。日本电视动画既可老少咸宜，，又具有很强的针对性，能够满足不同人群的需要，包含了搞笑、推理、科幻、热血、机战、运动、冒险、情感、校园、动作等元素。因此，仅在日本国内，就有87%的国民喜欢电视动画作品。让不同的人都能找到满足自己需求的动画，即“泛受众发展策略”，使日本电视动画能够在全球动画界独树一帜，既是它成功的关键，也是它致力的目标。本文结合传播学相关理论，对日本电视动画的“泛受众发展策略”进行了详尽分析。全文一共分为五个部分。引言部分即本文的研究缘起，主要描述了本文研究的意义、目的、方法等内容。第一章首先将日本电视动画放置在各日本动画类型以及整个日本动漫产业链中，探讨了日本电视动画的重要性。第二章通过日本与世界各国，尤其是中国对于电视动画受众的定位进行比较，继而从传播学角度论述了日本电视动画扩大受众群体的优势；同时，文章还发现历史客观因素和人为主观因素对于日本电视动画受众定位的影响并对其进行了分析。第三章重点阐释为了适应“泛受众发展策略”，日本电视动画所作的调整。文章具体分析了日本电视动画所体现的艺术性、使用的电视剧手法以及所采用的受众所关注的内容与形式。第四章分别从政府、幕后人员以及加工方三个角度论述了日本电视动画如何脱离屏幕，通过延伸吸引不同受众。
[Abstract]:TV animation is a kind of animation which is broadcast on TV and has the largest number, the largest audience, the longest influence time and the highest output value in Japan. Currently recognized as the founder of Japanese television animation is Osamu Tezuka, he produced the first Japanese television animation in 1963, "Iron arm Astro Boy". The style features of Japanese TV animation are different from those of European and American animations, with contrasting pictures, realistic backgrounds, distinctive characters, zigzag storylines, rich music and colorful images of stereo sounds. Japanese TV animation for the Japanese animation opened the way to the world, more than half of the world's animation products from Japan. According to statistics from Youku, a Chinese video website, more than 90 percent of the most popular animations played on that day were Japanese TV animations, while the TV animation "Seven Dragon-Ball", adapted from the same name's cartoons of the same name, was broadcast in more than 60 countries and regions. Because of the broadcast time, the ratings of Japanese TV animations fluctuate greatly, but the excellent TV animations can always get high ratings in the world, such as "Mobile Warriors up to", in the world, the total ratings are as high as 1.32 billion. Japanese TV animation can be both old and young Xianyi, but also has a strong pertinence, can meet the needs of different people, including funny, reasoning, science fiction, hot blood, machine warfare, sports, adventure, emotion, campus, action and other elements. Therefore, in Japan alone, 87% of the people like TV animation works. So that different people can find animation to meet their own needs, that is, "pan-audience development strategy", so that Japanese TV animation can be unique in the world of animation, is not only the key to its success, but also the goal it is committed to. Based on the theory of communication, this paper makes a detailed analysis of pan-audience development strategy of Japanese TV animation. The full text is divided into five parts altogether. The preface is the origin of this paper, mainly describes the significance, purpose, method and so on. The first chapter puts the Japanese TV animation in each Japanese animation type and the whole Japanese animation industry chain, discusses the importance of the Japanese television animation. The second chapter compares the audience orientation of TV animation between Japan and other countries, especially China, and then discusses the advantages of Japanese TV animation in expanding the audience from the angle of communication. The influence of historical objective factors and artificial subjective factors on the audience orientation of Japanese TV animation is also found and analyzed. The third chapter focuses on the adjustment of Japanese TV animation in order to adapt to the pan-audience development strategy. This paper analyzes the artistry of Japanese TV animation, the TV drama techniques and the contents and forms concerned by the audience. The fourth chapter discusses how Japanese TV animation separates from the screen and attracts different audiences through extension from three angles: government, behind-the-scenes personnel and processors.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J954

【共引文献】