反思中国当代动画困境的前世今生

发布时间：2018-05-24 13:45

本文选题：水墨动画 + 剧本创作　；参考：《陕西师范大学》2013年硕士论文

【摘要】：自从中国第一部动画《大闹画室》诞生以来,我国的动画就一直艰难地探索着具有中国特点的动画之路。1943年《铁扇公主》的出现无疑为当时的中国动画人注入了一针强心剂,就连日本的动画大师手冢治虫先生也曾坦言受其影响开始创作动画。解放后,中国的动画得以继续发扬光大。老一辈的中国动画人为之付出了毕生的心血,做出的动画如：《三个和尚》、《大闹天宫》、《小蝌蚪找妈妈》、《山水情》等在国际上都享誉盛名的重要作品。这个时候,出现了独具中国元素的水墨动画。它的出现不仅在中国动画的历史上写下了重要的一笔,而且在世界动画史上都是不可逾越的高峰。通常来说,制作一部水墨动画需要制作一部普通动画四倍的时间,需要耗费极大的人力物力。它将中国水墨画古诗一般的气质和西方严谨的动画制作相融合,创造出一种全新的艺术语言,达到了极高的艺术成就。然而,当代的中国动画却处于一种尴尬的境地。继《山水情》之后,国内的动画再也没有出现能够与之匹敌的片子。中国当代动画在低龄化和幼稚化的路上越走越远。改革开放之后,面对声势浩大的欧美动画和咄咄逼人的日韩动画,中国当代动画仿佛像漂流在大海中没有航向的船,找不到自己的定位。在这个动画技术飞速发展的年代里,中国的动画面临了更加严酷的现实：第一、只注重量的积累而忽略了质的提高；第二、没有属于自己的知名动画品牌；第三、没有伟大的动画大师。这就同时也向我们提出了关于当下中国动画的种种问题：一、什么才是好的动画；二、中国的动画究竟在世界上处于何种地位；三、如何在当今中国的环境下做出好动画?这都是当今的中国动画人应该思考的问题。中国动画仍然任重而道远,同时也需要中国动画人一代又一代地努力。其实要做好一部动画,不过是真诚的对待自己的内心,相信自己,相信情感,相信自己所坚持的一切。动画是一种依靠想象力和技术重新建构一种艺术形式。我坚信,在未来,它会走得更远。
[Abstract]:Since the birth of China's first animation studio, animation in China has been hard to explore the road of animation with Chinese characteristics. The appearance of "Princess Iron Fan" in 1943 undoubtedly injected a shot of strength into the Chinese animators at that time. Even Japan's master animator, Tezuka Osamu, has confessed to being influenced by the creation of animation. After liberation, the animation of China continues to develop. The older generation of Chinese animators have devoted their lives to it, making animations such as "three monks", "making a scene in heaven", "Little tadpoles looking for their mother", "the situation of mountains and rivers" and other important works that are well known in the world. At this time, there is a unique Chinese elements of ink animation. Its emergence not only writes an important stroke in the history of Chinese animation, but also is an insurmountable peak in the history of animation in the world. Generally speaking, it takes four times as much time to create an ink and wash animation as it takes a lot of manpower and material resources. It combines the general temperament of ancient Chinese ink painting with the rigorous animation production in the West, and creates a new artistic language, which has reached a very high artistic achievement. However, contemporary Chinese animation is in an awkward situation. After the landscape, domestic animation has never been able to compete with the film. Chinese contemporary animation in the younger age and childishness of the road to go further and further. After the reform and opening up, in the face of the powerful European and American animation and aggressive Japanese and Korean animation, the contemporary animation of China seems like a boat drifting in the sea without a course, and can not find its own position. In this era of rapid development of animation technology, animation in China is facing a more harsh reality: first, focus only on the accumulation of quantity and ignore the improvement of quality; second, there is no well-known animation brand; third, There are no great animators. At the same time, it also raises all kinds of questions about the current Chinese animation: first, what is a good animation; second, what is the status of Chinese animation in the world; third, how to make a good animation in the current Chinese environment? This is the current Chinese animation people should think about the problem. Chinese animation still has a long way to go, but also needs Chinese animation generation after generation of efforts. In fact, to do a good animation, but sincere treatment of their own heart, believe in themselves, believe in emotion, believe in everything they insist on. Animation is a kind of art form reconstructing by imagination and technology. I firmly believe that in the future, it will go further.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J954;J218.7

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