中国传统文化在动画中的应用

发布时间：2018-10-20 11:13

【摘要】：如今的动画早已摆脱原初的拙朴状态,成为一种大众艺术形式,以其独特的娱乐表现力和情绪感染力逐渐融入当代人的生活中,并成为当今时代最活跃的视觉文化现象和最具发展前景的产业类别。中国动画事业起步很早,20世纪20年代万氏兄弟就致力于动画艺术的研究。50年代在“探民族形式之风”的引导下,创作了大量的艺术精品,以浓郁的民族风格和中华气韵备受赞誉,形成了中国动画完整的艺术体系。然而进入新时期以来,尤其是产业化转变过程中,急功近利的发展状态丢失了国产动画的艺术传统。虽然“民族化”一直是业界的纲领性口号,但是近年来的动画作品对民族文化的解读往往是片面的、浅薄的。全球化时代的中国动画不能对巨大的民族文化资源进行良好的产业开发,无疑等同于抱着金饭碗要饭。而与之形成对比的是,美国凭借其强大的文化整合力、日本依据其与中国文化的亲近性,对我国的民族文化进行挖掘,在国际舞台上打起“中国牌”,借由中国文化元素外衣的包裹吸引了众多中国观众,形成一种强势的文化传播现象。鉴于此,本文以动画和民族文化为切入点,对美、日、中三国动画中的中国文化进行呈现,并就中国动画进行详细研究,对当前我国动画发展的困境加以分析考察,试图提出一些浅薄的参考意见。论文共计五章,绪论部分介绍论文的选题缘由和动画艺术起源及发展概况；第一章介绍中国传统文化的概念及其与动画的关系；第二章描述传统民族文化在动画中的体现,不同的国家由于文化的不同,对中国文化的阐释也不同,带着各自独特的民族文化特色；第三章重点分析我国传统动画,从民族艺术、民间文学和文化精神等角度对国产动画的艺术形式和文化内蕴进行探讨；第四章和第五章对当下国产动画中体现出的盲目模仿、缺乏创新、受众定位失衡等问题进行分析,之所以会陷入这种文化困境,主要是由于文化内蕴的缺失,导致民族化表达的误区,只得其形而未能得其神。针对这种现状,提出当前动画创作的表达策略,如传统文化现代化表达、动画技术美学的发展及回归大众传统审美等。最后的结论部分对前文进行总结概括,期待新时期的中国动画民族化进程能够得以良好发展。
[Abstract]:Today's animation has been out of the original state of simplicity, become a form of popular art, with its unique entertainment performance and emotional appeal gradually into the life of contemporary people, And become the most active visual cultural phenomenon and the most promising industry category. The Chinese animation industry started very early. In the 1920s, the Wanshi brothers devoted themselves to the study of animation art. In the 1950s, under the guidance of "exploring the wind of national forms", they created a large number of fine works of art. Full-bodied national style and Chinese charm have been praised, forming a complete Chinese animation art system. However, in the new period, especially in the process of industrialization transformation, the rapid development of the state has lost the art tradition of domestic animation. Although "nationalization" has always been a programmatic slogan of the industry, the interpretation of national culture by animation works in recent years is often one-sided and shallow. In the era of globalization, Chinese animation can't develop the huge national cultural resources well, and it is no doubt equivalent to begging for food in the golden rice bowl. By contrast, the United States, by virtue of its strong cultural integration, Japan, based on its closeness with Chinese culture, excavated our national culture and played the "China card" on the international stage. The package of Chinese cultural elements attracts a large number of Chinese audiences and forms a strong cultural transmission phenomenon. In view of this, this article regards animation and national culture as the breakthrough point, presents the Chinese culture in the animation of the United States, Japan and China, and makes a detailed study on the Chinese animation, and analyzes and inspects the predicament of the development of animation in our country at present. Try to put forward some shallow reference. The first chapter introduces the concept of Chinese traditional culture and its relationship with animation. The second chapter describes the embodiment of traditional national culture in animation. Because of different cultures, different countries have different interpretations of Chinese culture, with their own unique national cultural characteristics. Chapter III focuses on the analysis of Chinese traditional animation, from the national art, From the perspective of folk literature and cultural spirit, the artistic form and cultural connotation of domestic animation are discussed. Chapter four and chapter five analyze the problems of blind imitation, lack of innovation and imbalance of audience orientation in the present domestic animation. This kind of cultural dilemma is mainly due to the lack of cultural connotation, which leads to the misunderstanding of nationalization expression, and only its form can not get its gods. In view of this situation, this paper puts forward the expression strategies of current animation creation, such as the modern expression of traditional culture, the development of animation technology aesthetics and returning to the traditional aesthetic of the masses, etc. In the last part, the author summarizes the above and expects that the process of Chinese animation nationalization will develop well in the new period.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：G122

【相似文献】