以《桃花源记》为例看当代中国水墨动画

发布时间：2018-06-04 01:45

本文选题：水墨动画 + 桃花源记　；参考：《安徽大学》2012年硕士论文

【摘要】：六十年代诞生的以传统写意水墨画为形式的水墨动画蓬勃发展精品迭出,意境深远、笔墨情趣浓郁,散发着浓郁的时代气息和鲜明的民族气息。进入90年代后,受外在市场经济的冲击,加之其制作工艺的繁杂、影视语言的缺失以及题材的限制等一系列因素影响,水墨动画在观众的视线中渐渐消失。随着新媒体和新技术的发展,当代水墨动画借助数码技术的支持,引入了电影语言概念,借鉴了电影全立体视点,将水墨的平面世界带入自由立体的深度空间。使用多层画面和场景相结合,应用后期数字特效、合成制作,其表现方式令人耳目一新,因之再次引起人们广泛而持久的关注。可以看到,当代水墨动画的革新依然是中国动画人不懈追求的目标,同时,当代水墨动画的研究也成为相关机构重要的课题之一。当下深入研究和开发水墨动画相关技术、理论的机构有将近六十所,如上海上影数码公司、山东高路动画、深圳环球数码创意控股有限公司等。这些机构探索制作出了大量的数字水墨动画,其中不乏一些颇具代表性的优秀作品。三维动画《桃花源记》就是其中成功的典范。该片在2006中国国际动漫影视作品“美猴奖”大赛上获得最佳短片大奖,同年在日本TBS动画数字作品大赛中获最优秀奖。《桃花源记》的产生并不是偶然的,它是对传统的继承与现实发展的必然,凝聚着无数的思考与创新。本文以《桃花源记》为例,本文分四章分别从美术元素和电影元素两个方面,对《桃花源记》作深入浅出的分析,包括场景造型分析、角色造型分析、剧本分析、镜头造型的设计等,再从生产流程、水墨风格、镜头空问三个方面将之与传统水墨动画作比较,并借由《桃花源记》引发对当代中国水墨动画的几点思考。
[Abstract]:Born in the sixties with the traditional freehand ink painting as the form of the vigorous development of fine works, profound artistic conception, rich ink flavor, exudes a strong flavor of the times and distinct national breath. After entering the 1990s, due to the impact of the external market economy, in addition to the complexity of its production technology, the lack of film and television language, as well as the theme of a series of factors, ink animation gradually disappeared in the sight of the audience. With the development of new media and new technology, contemporary ink animation, with the support of digital technology, introduces the concept of film language, draws lessons from the full stereoscopic view of the film, and brings the plane world of ink and water into the deep space of freedom and stereo. With the combination of multi-layer screen and scene and the application of digital special effects in the later stage, the performance of this method is refreshing, so it has attracted people's extensive and lasting attention again. It can be seen that the innovation of contemporary ink animation is still the goal that Chinese animators pursue unremitting. At the same time, the research of contemporary ink and wash animation has become one of the important topics of relevant institutions. At present, research and development of ink animation related technology, the theory of nearly 60 institutions, such as Shanghai Shangying Digital Company, Shandong Gao Lu Animation, Shenzhen Global Digital Creative Holdings Co., Ltd. These institutions explore the production of a large number of digital ink animation, including some representative excellent works. The three-dimensional animation Peach Blossom Source is an example of success. The film won the Best short Film Award in the 2006 China International Animation Film and Television Comic-Film Competition "the Monkey Prize" and the best award in the Japanese TBS Animation Digital works Competition in the same year. The emergence of "Peach Flower Source" is no accident. It is the inheritance of the tradition and the inevitable development of reality, condensing countless thinking and innovation. This article takes "the Peach Blossom Source" as an example, this article divides into four chapters separately from the fine arts element and the movie element two aspects, to "Peach Blossom Source" makes the deep and simple analysis, including scene modelling analysis, the role modelling analysis, the script analysis, The design of lens modeling is compared with traditional ink animation from three aspects: production flow, ink style and lens space, and some reflections on contemporary Chinese ink animation are caused by "Peach Flower Source".
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J954

【共引文献】