中日动画电影创作风格之比较
发布时间：2019-04-07 15:52
【摘要】：中国动画电影沿着万氏兄弟开创的创作之路一路走来,既经历过“中国学派”式的辉煌,也经历过低迷与尴尬,如今的中国动画电影创作逐渐复苏,但依然在日本、美国这样的动画大国的夹缝中艰难地生存着。日本动画与中国动画几乎同时起步,在发展过程中,随着各代创作人才的努力与探索,使得日本成为名符其实的动漫大国,获得了全世界各年龄层次观众的欢迎。本文试图通过对中日两国动画电影创作风格的比较,挖掘出中国动画电影创作的特色与优势,探索出适合自身的发展之路,走向新的辉煌。 本文分为绪论和正文两大部分。 绪论部分从中日两国动画电影发展现状出发,分析了本课题的研究背景,梳理了中日两国动画电影研究的理论成果,指出了本课题的研究目的和意义。 正文是本文的核心部分,分为四章。第一章从取材内容和表现形式两个方面分析了中日两国动画电影创作传统,指出中国动画电影立足于本土,以丰富多彩的表现形式体现民族风格；日本动画电影则拿来与本土并存,发挥本民族特长。 第二章以中日两国动画电影中的成长主题、爱情主题、现实主题为研究对象,分析了二者在思想主题开掘方面的异同,指出了两国不同的动画电影创作观念：中国以教化为主的创作观导致动画电影主题较单一,缺乏共鸣；日本动画电影则在宫崎骏的指引下,充满人文思辨性,符合人类普遍的价值观。 第三章从动画形象的特点和功能着手,选取了中日动画电影中的代表形象：英雄形象、儿童形象、神灵形象为研究对象,分析了两国在动画形象塑造上的差异,进而总结出了优秀的动画形象应具备的特点：具有真实的人性,契合时代的审美变迁,具有民族文化特色的造型。 第四章是结语部分,总结了我国动画电影创作上存在的问题,进而指出了我国动画电影创作需要借鉴日本动画电影创作的方面,最终得出结论：我国的动画电影创作者,只有打开视野,摆脱固有观念的束缚,才能拓展思路,创作出更优秀的动画电影作品,才能探索出适合中国动画电影的发展方向。
[Abstract]:Chinese animated films have gone along the path of creation initiated by the Wan Brothers, having experienced both the splendor of the "Chinese School" style, the downturn and embarrassment, and the gradual recovery of Chinese animation film creation now, but still in Japan. The crevices of animation powers such as the United States struggle to survive. Japanese animation and Chinese animation almost started at the same time. In the process of development, with the efforts and exploration of various generations of creative talents, Japan has become a great anime country worthy of its name, and has been welcomed by audiences of all ages all over the world. This paper attempts to explore the characteristics and advantages of Chinese animation film creation by comparing the creative styles of Chinese and Japanese animation films, and to explore the way of development suitable for themselves, and to move towards new splendor. This paper is divided into two parts: introduction and text. The introduction part starts from the current situation of animation film development between China and Japan, analyzes the research background of this subject, combs the theoretical achievements of the animation film research between China and Japan, and points out the purpose and significance of this subject. The text is the core part of this paper, divided into four chapters. The first chapter analyzes the tradition of animation film creation in China and Japan from two aspects: the content of material and the form of expression, and points out that the Chinese animation film is based on the native land and embodies the national style with rich and colorful forms of expression; Japanese animation film and local co-existence, play their national specialties. The second chapter takes the growth theme, the love theme and the real theme as the research objects in the animated films of China and Japan, and analyzes the similarities and differences in the ideological theme exploration between the two countries. The author points out the different ideas of animation film creation between the two countries: the view of creation based on education in China causes the theme of animation film to be single and lack of resonance; Japanese animation film under the guidance of MiyazakiHayao, full of humanistic thinking, in line with universal human values. The third chapter starts with the characteristics and functions of animation images, and selects the representative images of Chinese and Japanese animation films: hero image, children image and spirit image as the research object, and analyzes the differences in animation image shaping between the two countries. Furthermore, it sums up the characteristics of excellent animation image: it has real human nature, accords with the aesthetic changes of the times, and has the national cultural characteristics of the shape. The fourth chapter is the conclusion part, summarizes the existing problems in the animation film creation of our country, then points out that the animation film creation of our country needs to draw lessons from the Japanese animation film creation aspect, and finally draws the conclusion: the animation film creator of our country, the author of the animation film of our country, Only by opening the field of vision and getting rid of the bondage of inherent concepts can we expand our thinking and create more excellent animated film works. Only then can we explore the direction of development suitable for Chinese animated movies.
【学位授予单位】：兰州大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J954
本文编号：2454188
[Abstract]:Chinese animated films have gone along the path of creation initiated by the Wan Brothers, having experienced both the splendor of the "Chinese School" style, the downturn and embarrassment, and the gradual recovery of Chinese animation film creation now, but still in Japan. The crevices of animation powers such as the United States struggle to survive. Japanese animation and Chinese animation almost started at the same time. In the process of development, with the efforts and exploration of various generations of creative talents, Japan has become a great anime country worthy of its name, and has been welcomed by audiences of all ages all over the world. This paper attempts to explore the characteristics and advantages of Chinese animation film creation by comparing the creative styles of Chinese and Japanese animation films, and to explore the way of development suitable for themselves, and to move towards new splendor. This paper is divided into two parts: introduction and text. The introduction part starts from the current situation of animation film development between China and Japan, analyzes the research background of this subject, combs the theoretical achievements of the animation film research between China and Japan, and points out the purpose and significance of this subject. The text is the core part of this paper, divided into four chapters. The first chapter analyzes the tradition of animation film creation in China and Japan from two aspects: the content of material and the form of expression, and points out that the Chinese animation film is based on the native land and embodies the national style with rich and colorful forms of expression; Japanese animation film and local co-existence, play their national specialties. The second chapter takes the growth theme, the love theme and the real theme as the research objects in the animated films of China and Japan, and analyzes the similarities and differences in the ideological theme exploration between the two countries. The author points out the different ideas of animation film creation between the two countries: the view of creation based on education in China causes the theme of animation film to be single and lack of resonance; Japanese animation film under the guidance of MiyazakiHayao, full of humanistic thinking, in line with universal human values. The third chapter starts with the characteristics and functions of animation images, and selects the representative images of Chinese and Japanese animation films: hero image, children image and spirit image as the research object, and analyzes the differences in animation image shaping between the two countries. Furthermore, it sums up the characteristics of excellent animation image: it has real human nature, accords with the aesthetic changes of the times, and has the national cultural characteristics of the shape. The fourth chapter is the conclusion part, summarizes the existing problems in the animation film creation of our country, then points out that the animation film creation of our country needs to draw lessons from the Japanese animation film creation aspect, and finally draws the conclusion: the animation film creator of our country, the author of the animation film of our country, Only by opening the field of vision and getting rid of the bondage of inherent concepts can we expand our thinking and create more excellent animated film works. Only then can we explore the direction of development suitable for Chinese animated movies.
【学位授予单位】：兰州大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J954
【参考文献】
相关期刊论文 前1条
1 朱清华;全球化语境下的中国动画[J];北京电影学院学报;2003年04期
，本文编号：2454188
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