有意味的形式—实验动画中线条与色彩以及空间关系的表现研究

发布时间：2019-05-28 19:35

【摘要】：近几年来,动漫产业这个名词成为越来越多人热衷讨论的话题之一。不仅参与的人多,国家也在逐步的关注中不断加大投资与扶持的力度。一时间,动漫产业基地、高校开设的动画学科专业遍布全国,动漫一词成为了现在最热门的词。然而,在这样的环境下,国内的动漫产业却并没有扭转尴尬的现状。动漫基地设置后并没有为动漫产业的发展形成有序有效的市场产业链,高校动漫专业的不断扩招却让找工作难的问题更加矛盾激化。头脑发热的商业投资、国家审批机制的严苛、播出平台的限制与垄断、对外国动漫作品的简单化抄袭或是沦为国外动漫的加工厂、原创动漫公司由于产业回报问题的愈发艰难等种种现状暴露出这股动漫产业热背后的冷。动漫产业如何才能真正成为一个产业?动画片如何才能进入国内观众的视线并得到多数人的认可?这些是所有参与动漫行业的人需要共同解决的问题。现在的动漫发展已经离不开商业这个词了,不论是美国还是日本的动漫产业都有完善的市场营销策略与投资产业链。但是,这样的发展模式并不是现阶段的国内市场可以直接适用的模式。目前,国内的动漫发展还处于初级阶段,想要在这样的条件下形成和日美等国家一样成熟的产业机制是需要时间的。动画发展的初期阶段都是创作者们的不断探索,包括对于制作方法、媒介形式、创新及目的性的探索等等。这种探索便是早期的实验,在实验的过程中发现的各种不同的媒介形式、制作方法,像线条的变化到黑白效果转变为彩色,再到静帧的图像随着技术的革新转变为动态的画面,直到现在的计算机图形技术和交互技术的日益革新,实验的媒介与方式在不断的发生着转变,然而对于实验的目的却是恒定的。许许多多的创作者们在不断寻求动画创作中艺术性与技术性的突破。借鉴其他国家动画发展的经验可以看出实验动画在初期发展阶段所具有的重要意义。克莱夫·贝尔在《艺术》一书中说过:“在每件作品中,以某种独特的方式组合起来的线条和色彩、特定的形式和形式关系激发了我们的审美情感。我把线条和颜色的这些组合和关系,以及这些在审美上打动人的形式称作‘有意味的形式’,它就是所有视觉艺术作品所具有的那种共性。”1 本论文拟对实验动画中线条与色彩以及空间关系的表现手法进行研究。一部完整的动画既需要独特的风格与表现形式也需要有作者想要传达给观众的内容与精神,简单说来便是形式与意味的结合。动画作品作为视觉艺术作品中的一部分,动画创作者们在创作动画作品的过程中能够用“有意味的形式”来表达作品中的情感内涵,这样的作品既然能够引发观众普遍共鸣的审美体验,那么它们的形式——包括创作者们使用的线条、色彩等基本元素以及空间关系的理解,必定是值得我们分析与学习的形式。
[Abstract]:In recent years, the term animation industry has become one of the topics that more and more people are keen to discuss. Not only a large number of people participate, but also the country is gradually paying attention to increasing investment and support. For a while, animation industry base, colleges and universities set up animation disciplines all over the country, the word animation has become the most popular word. However, in such an environment, the domestic animation industry has not reversed the embarrassing situation. After the establishment of animation base has not formed an orderly and effective market industry chain for the development of animation industry, but the continuous expansion of college animation professional enrollment makes the problem of finding a job more contradictory and intensified. The feverish commercial investment, the strict examination and approval mechanism of the state, the restriction and monopoly of the broadcasting platform, the simplification and plagiarism of foreign animation works, or become the processing factory of foreign animation. Original animation companies due to the increasingly difficult problem of industrial returns and other status quo exposed the animation industry behind the cold. How can animation industry really become an industry? How can cartoons get into the sight of the domestic audience and be recognized by the majority of people? These are the problems that all those involved in the animation industry need to solve together. Now the development of animation can not be separated from the word business, whether in the United States or Japan's animation industry has a sound marketing strategy and investment industry chain. However, such a development model is not directly applicable to the domestic market at this stage. At present, the development of domestic animation is still in its infancy, it takes time to form the same mature industrial mechanism as Japan and the United States under such conditions. The initial stage of animation development is the continuous exploration of creators, including the exploration of production methods, media forms, innovation and purpose, and so on. This exploration is the early experiment, in the course of the experiment found a variety of different media forms, production methods, such as the change of lines to black and white effects into color, and then to the image of static frame with the innovation of technology into a dynamic picture. Up to now, with the increasing innovation of computer graphics technology and interaction technology, the media and mode of experiment are constantly changing, but the purpose of the experiment is constant. Many creators are constantly looking for artistic and technical breakthroughs in animation creation. Drawing lessons from the experience of animation development in other countries, we can see the significance of experimental animation in the initial stage of development. Clive Bell said in Art: "in each work, the lines and colors combined in some unique way, the specific form and form relationship stimulate our aesthetic emotion." I call these combinations and relationships of lines and colors, as well as these aesthetically moving forms, 'meaningful forms'. It is the kind of commonness that all visual art works have. "1 this paper intends to study the expression of the relationship between lines and colors and space in experimental animation. A complete animation needs not only unique style and form of expression, but also the content and spirit that the author wants to convey to the audience, in short, the combination of form and meaning. Animation works as a part of visual art works, animation creators in the process of creating animation works can use "meaningful form" to express the emotional connotation of the works. Since such works can arouse the aesthetic experience that the audience generally resonates with, their forms-including the lines, colors and other basic elements used by the creators, as well as the understanding of spatial relations, must be worthy of our analysis and learning.
【学位授予单位】：湖北美术学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J218.7

【共引文献】