动画片中的影视性

发布时间：2018-06-13 12:47

本文选题：美学特性 + 电影思维　；参考：《武汉理工大学》2006年硕士论文

【摘要】：随着科学技术的迅速发展,动画从最初的实验性产物逐步成为了大众化产业。如今,动画一词已经大大超出了其原有的含意,越来越广泛地渗透到人们的生活之中,并过渡到商业化阶段。在当今“全球化”已逐渐成为世界各国经济、文化、社会发展的共同背景下,动画片呈现了商业动画(主流动画)与艺术动画(非主流动画)的分野,而商业动画片特别是影院动画片,随着动画技术的成熟,现代科学技术的发展为其不断注入新的活力,逐渐处于动画业的龙头位置。各国的影视制作行业都纷纷开始把目光转移到动画这一具有巨大潜力的市场上来。美国与日本现已成为了两大动画生产国。他们的动画影片与相关的动漫周边产品,为其本国带来了巨大的商业经济效益。而我国的商业动画与艺术动画在上个世纪六、七十年代曾一度辉煌,如影院动画片《大闹天宫》(张光宇造型)的京剧风格,《哪吒闹海》(张仃)造型的年画风格;艺术动画片中更有具创造、发明意义的水墨动画《小蝌蚪找妈妈》、《牧笛》、《鹿铃》、《山水情》等,形成了自己的一些优秀传统,也积累出了一定的民族特色,奠定了“中国学派”的坚实基础。但是在如今商业动画处于龙头位置的形势下,我国的商业动画片,无论是影院动画还是电视动画都无法与外片抗衡,更不用说登陆海外市场。本文主要对动画影片中的影视性包括动画的影视美学特性、动画片中的电影思维方式、动画片中的镜头运用进行研究分析,并结合国际国内优秀的动画影片进行分析,阐述影视性在动画中的重要性。动画中对电影思维的运用,不仅影响着动画的吸引力和可观赏性,而且在很大程度上决定着一部动画片的艺术质量,决定着动画创作艺术上的成败。因此,一部动画影片要想获得成功,必须重视影视性,将电影思维融入动画影片的创作中。
[Abstract]:With the rapid development of science and technology, animation has gradually become a popular industry from the original experimental products. Nowadays, the term animation has gone far beyond its original meaning, and has been more and more widely infiltrated into people's lives, and the transition to the stage of commercialization. In today's "globalization" has gradually become the common background of the economic, cultural and social development of all countries in the world, animation presents a distinction between commercial animation (mainstream animation) and art animation (non-mainstream animation). With the maturity of animation technology and the development of modern science and technology, commercial animation, especially cinema animation, has been continuously injected into new vitality and gradually in the leading position of animation industry. All over the world, the film and television production industry has begun to focus on animation, which has great potential in the market. The United States and Japan are now two major animation producers. Their animation film and related animation peripheral products, for their own country has brought huge commercial economic benefits. The commercial animation and art animation of our country were once brilliant in the sixties and seventies of last century, such as the Beijing opera style of the theater cartoon "making a scene of Heaven Palace" (Zhang Guangyu's modeling) and the style of "Nezha" (Zhang Ding) style of New year's pictures; There are even more creative, invention-meaning water- ink animations "Little tadpoles looking for Mom", "Pastor", "Deer Bell", "Mountain and Water situation" and so on, which have formed some excellent traditions of their own and accumulated certain national characteristics. It laid a solid foundation for the Chinese School. However, under the situation that commercial animation is in the leading position, the commercial animation of our country, no matter the movie theater animation or the television animation can not compete with the foreign film, not to mention the landing overseas market. This article mainly studies the film and television in the animation film, including the movie esthetics characteristic of the animation, the movie thinking mode in the cartoon film, the lens application in the cartoon film, and carries on the analysis combining the international and the domestic outstanding animation film. This paper expounds the importance of film and television in animation. The application of film thinking in animation not only affects the attraction and appreciation of animation, but also determines to a great extent the artistic quality of an animated film and the success or failure of animation creation art. Therefore, if an animated film wants to succeed, it must attach importance to film and television, and integrate film thinking into the creation of animation film.
【学位授予单位】：武汉理工大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J954

【引证文献】