【摘要】：縱觀國(guó)產(chǎn)動(dòng)畫(huà)電影的播放時(shí)間多集中在國(guó)產(chǎn)電影保護(hù)月(6至8月)、法定節(jié)假日和寒暑假,票房雖然得到了保障,然而評(píng)分和票房的不對(duì)等,前期宣傳和內(nèi)容質(zhì)量的不對(duì)等,主題意義和觀眾定位的不對(duì)等,都是目前國(guó)產(chǎn)動(dòng)畫(huà)電影亟待解決的問(wèn)題。而2016年是國(guó)產(chǎn)真人CG動(dòng)畫(huà)電影的元年,國(guó)內(nèi)首次出現(xiàn)應(yīng)用真人捕捉技術(shù)拍攝的動(dòng)畫(huà)電影,在國(guó)內(nèi)這不僅是技術(shù)上的突破,更為國(guó)產(chǎn)動(dòng)畫(huà)電影的制作提供了新的思路,在國(guó)產(chǎn)動(dòng)畫(huà)電影的研究中具有重要意義。本文中的國(guó)產(chǎn)動(dòng)畫(huà)電影指的是中國(guó)人在整部影片中以動(dòng)畫(huà)技術(shù)制作的電影,關(guān)鍵是動(dòng)畫(huà)電影的內(nèi)容方面由中國(guó)團(tuán)隊(duì)獨(dú)立負(fù)責(zé),且作品能夠表現(xiàn)出中國(guó)人對(duì)影片內(nèi)容的理解、創(chuàng)意和構(gòu)思。本文在研究了大量的相關(guān)資料后,試著分析國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事要素和敘事結(jié)構(gòu),即以中國(guó)人自制的動(dòng)畫(huà)電影為研究對(duì)象,從觀眾的需求出發(fā),結(jié)合教育學(xué)、敘事學(xué)、電影敘事學(xué)理論,把握國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事特征。本文又通過(guò)對(duì)比其他國(guó)家優(yōu)秀的動(dòng)畫(huà)電影和中國(guó)早期的優(yōu)秀動(dòng)畫(huà)電影的敘事方式,經(jīng)過(guò)細(xì)致分析,得出結(jié)論,并且以結(jié)論為基礎(chǔ),對(duì)當(dāng)下國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事提出指導(dǎo)性的建議。第一章為理論概述,主要是介紹了本文運(yùn)用的教育學(xué)、電影敘事學(xué)和敘事學(xué)的相關(guān)理論。國(guó)產(chǎn)動(dòng)畫(huà)電影近年來(lái)在國(guó)產(chǎn)電影中所占比重一直不低,但近兩年來(lái)高評(píng)分的國(guó)產(chǎn)動(dòng)畫(huà)電影非常少,普遍口碑比較差;筆者在研究中發(fā)現(xiàn)國(guó)產(chǎn)動(dòng)畫(huà)電影的制片人對(duì)動(dòng)畫(huà)電影的觀眾定位很模糊,希望通過(guò)對(duì)其他學(xué)科理論的簡(jiǎn)單介紹,讓制片方明確兒童觀看的動(dòng)畫(huà)電影的年齡界限,更好的把握電影獨(dú)特的敘事方式和從整體了解有效的敘事方法。第二章通過(guò)對(duì)國(guó)產(chǎn)和動(dòng)畫(huà)電影這些概念的梳理,對(duì)國(guó)產(chǎn)動(dòng)畫(huà)電影的概念進(jìn)行了清晰的界定,以便后期選定分析對(duì)象時(shí)界限分明選材完整。在這個(gè)章節(jié)中論述了國(guó)產(chǎn)動(dòng)畫(huà)電影的發(fā)展概況以及近幾年國(guó)產(chǎn)動(dòng)畫(huà)電影的發(fā)展趨向。1941年國(guó)內(nèi)出現(xiàn)了第一部國(guó)產(chǎn)動(dòng)畫(huà)電影,本文嘗試根據(jù)其產(chǎn)量變化的特點(diǎn)分階段進(jìn)行簡(jiǎn)單的歸納總結(jié)。第三章為論文主體部分,從四個(gè)方面分析國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事要素。首要先介紹的是敘事情節(jié),電影敘事學(xué)中分析內(nèi)容時(shí),第一個(gè)要明確的就是敘事情節(jié)從而幫助下一節(jié)理解敘事人物在敘事情節(jié)中的變化,本文從發(fā)現(xiàn)和對(duì)立兩方面去考量近年來(lái)的國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事情節(jié),探究國(guó)產(chǎn)動(dòng)畫(huà)電影的主要情節(jié)。其次,在電影中或這電影外都會(huì)有一個(gè)敘事者,而在電影敘事中敘事者通常會(huì)假借電影中的人物之口來(lái)表意,而人物是事件發(fā)展的行動(dòng)元,希望通過(guò)對(duì)敘事人物的分析掌握電影人物形象的靈感來(lái)源、電影的敘事視角和其中的人物關(guān)系。接著對(duì)敘事時(shí)間進(jìn)行分類(lèi),重點(diǎn)了解國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事時(shí)距,感受不同的敘事時(shí)距的不同作用。最后,介紹的是敘事空間,分別從動(dòng)畫(huà)電影中的自然現(xiàn)象、社會(huì)背景和物質(zhì)產(chǎn)品三個(gè)方面對(duì)動(dòng)畫(huà)電影的敘事空間進(jìn)行分析,關(guān)注非敘事性的敘事空間在電影中的表達(dá)作用。第四章根據(jù)第三章對(duì)敘事要素中具體內(nèi)容的分析,歸納總結(jié)國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事結(jié)構(gòu),從蒙太奇結(jié)構(gòu)和組合結(jié)構(gòu)兩方面,依據(jù)電影敘事結(jié)構(gòu)概論對(duì)國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事結(jié)構(gòu)進(jìn)行了解和分析。觀察不同的敘事手法在國(guó)產(chǎn)動(dòng)畫(huà)電影中的運(yùn)用情況,并總結(jié)出我國(guó)優(yōu)秀國(guó)產(chǎn)動(dòng)畫(huà)電影的情節(jié)組合模式,為我國(guó)動(dòng)畫(huà)電影的制作實(shí)踐提供借鑒的公式。第五章根據(jù)國(guó)產(chǎn)動(dòng)畫(huà)電影的敘事變遷狀況將其分為發(fā)展期、探索期和高產(chǎn)期,并按照第三章和第四章對(duì)敘事要素和敘事結(jié)構(gòu)的分析方式,總結(jié)歸納不同時(shí)期國(guó)產(chǎn)動(dòng)畫(huà)電影在敘事要素和敘事結(jié)構(gòu)上的特點(diǎn)。并對(duì)比國(guó)外同時(shí)期優(yōu)秀動(dòng)畫(huà)電影的敘事要素和敘事結(jié)構(gòu),分析國(guó)產(chǎn)動(dòng)畫(huà)電影在敘事要素和敘事結(jié)構(gòu)上存在的問(wèn)題和取得的階段性成果。第六章在以上幾章內(nèi)容的基礎(chǔ)上,總結(jié)了國(guó)產(chǎn)動(dòng)畫(huà)電影在敘事結(jié)構(gòu)和敘事要素上存在的問(wèn)題,并結(jié)合在研究中對(duì)觀眾短評(píng)的分析和觀眾反饋的問(wèn)題,歸納出國(guó)產(chǎn)動(dòng)畫(huà)電影中存在的問(wèn)題,進(jìn)而有針對(duì)性的提出解決方案。而這些解決方案是根據(jù)筆者閱讀的資料和觀看的國(guó)內(nèi)外優(yōu)秀的動(dòng)畫(huà)電影總結(jié)出來(lái)的方法,從而揚(yáng)長(zhǎng)避短探索出國(guó)產(chǎn)動(dòng)畫(huà)電影的發(fā)展方向,為國(guó)產(chǎn)動(dòng)畫(huà)電影提高競(jìng)爭(zhēng)力提供有效的方案。綜上所述,對(duì)國(guó)產(chǎn)動(dòng)畫(huà)電影敘事要素和敘事結(jié)構(gòu)的研究是本文的主要內(nèi)容,但目的還是希望能對(duì)國(guó)產(chǎn)動(dòng)畫(huà)電影的口碑特別是提高國(guó)際競(jìng)爭(zhēng)力方面提供借鑒,這也是本文的價(jià)值所在。
[Abstract]:As a whole, the playing time of the domestic animation film is concentrated in the domestic film protection month (June to August), the legal holidays and the cold and summer holidays, and the box office has been guaranteed, however, the non-equivalence of the score and the box office, the non-equivalence of the previous publicity and the content quality, and the like, The non-equivalence of the theme meaning and the orientation of the audience is the problem to be solved in the present domestic animation film. In 2016, in the first time, in the first time of China's real-life CG animation film, the real-life capture technology was used for the first time in China. It is not only a breakthrough in technology, but also a new idea for the production of domestic animation films. It is of great significance in the research of domestic animation films. The home-made animated film in this article refers to the film produced by the Chinese in the whole film by the animation technology, the key is the content of the animation film is the independent responsibility of the Chinese team, and the work can show the Chinese people's understanding, creativity and conception of the film content. After studying a lot of relevant data, this paper tries to analyze the narrative elements and the narrative structure of the domestic animated film, that is, the animated film made by the Chinese people as the research object, from the audience's demand, combining with the pedagogy, the narratology, the film narrative theory, To grasp the narrative characteristics of the domestic animated film. In this paper, through the comparison of the excellent animation films of other countries and the narrative way of the excellent animation films in the early stage of China, the author draws a conclusion, and based on the conclusion, the author gives a guiding suggestion on the narrative of the domestic animated film. The first chapter is a theoretical overview, which mainly introduces the related theories of the pedagogy, the film narrative and the narratology applied in this paper. In recent years, home-made animation films have not been low in domestic films, but the domestic animation films with high scores in recent two years are very low, and the popular word-of-mouth is poor; in the study, the author found that the producer of the domestic animation film is very fuzzy to the audience of the animation film, Through a brief introduction to other subject theories, it is hoped that the studio can define the age limit of the animation film to be watched by the children, and better grasp the unique narrative way of the film and the effective narrative method from the whole. In the second chapter, by combing the concepts of domestic and animated films, the concept of domestic animated film is clearly defined, so that the boundary is well-defined when the analysis object is selected in the later stage. In this section, the development of domestic animation films and the development trend of domestic animation films have been discussed in recent years. The first domestic animated film appeared in the country in 1941. In this paper, a brief summary is made on the characteristics of the production change. The third chapter is the main part of the thesis, and analyzes the narrative elements of the domestic animation film from four aspects. The first is the narrative plot and the analysis of the content in the narrative of the film, the first to be clear is the narrative plot so as to help the next section to understand the narrative character's change in the narrative plot, this article to consider the narrative plot of the domestic animated film in recent years from the two aspects of discovery and opposition, The main plot of the domestic animated film is explored. Second, there will be a narrator in the film or in the outside of the film, and the narrator in the film narrative will often pretend to borrow the character's mouth in the film, and the figure is the action element of the event development, hoping to master the inspiration source of the film image through the analysis of the narrative characters, The narrative perspective of the film and the relationship between the characters. Then, the narrative time is classified, the narrative time of the domestic animation film is focused on, and the different effect of the distance between the different narrative time is felt. Finally, the narrative space is introduced, and the narrative space of the animation film is analyzed from three aspects of the natural phenomenon, the social background and the material product in the animation film, and the expression of the non-narrative narrative space in the film is concerned. In the fourth chapter, according to the analysis of the specific content of the narrative elements in the third chapter, the narrative structure of the domestic animated film is summarized, and the narrative structure of the domestic animated film is analyzed and analyzed from the aspects of the montage structure and the combination structure. The application of different narrative techniques in the domestic animation films is observed, and the plot combination model of the excellent domestic animation films in China is summarized, and the formula for reference for the production practice of the animation films in China is provided. In the fifth chapter, according to the state of the narrative transition of the domestic animated film, it is divided into the development period, the discovery period and the high-yield period, and the characteristics of the domestic animation films on the narrative elements and the narrative structure are summarized in accordance with the analysis methods of the narrative elements and the narrative structure in the chapters III and IV. The narrative elements and the narrative structure of the excellent animation films in the same period in the foreign countries are compared, and the problems existing in the narrative elements and the narrative structure of the domestic animation films are analyzed and the achievements of the achievements are analyzed. Chapter 6, on the basis of the contents of the above chapters, summarizes the problems existing in the narrative structure and the narrative elements of the domestic animation film, and summarizes the problems existing in the domestic animation film in combination with the analysis of the short evaluation of the audience and the feedback of the audience in the research. and then the solution is put forward. These solutions are based on the information read by the author and the methods that are summarized by the excellent animation films both at home and abroad, so that the development direction of the home-made animation film is explored and the effective scheme for improving the competitiveness of the domestic animation film is provided. To sum up, the research on the narrative elements and the narrative structure of the domestic animation film is the main content of this paper, but the purpose is to provide the reference for the public praise of the domestic animation film, especially the improvement of the international competitiveness, which is the value of this paper.
【學(xué)位授予單位】：新疆大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J954

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 尹慧青;;有感于中國(guó)動(dòng)畫(huà)電影的藝術(shù)審美趨向[J];藝術(shù)教育;2007年09期

2 駱勇;高羽;;從傳統(tǒng)文化談動(dòng)畫(huà)電影創(chuàng)作[J];電影文學(xué);2007年16期

3 彭驕雪;王進(jìn);;電子游戲與美國(guó)當(dāng)代動(dòng)畫(huà)電影的崛起[J];電影藝術(shù);2007年01期

4 單娟;;動(dòng)畫(huà)電影中的創(chuàng)新——“篡改”手法的使用[J];現(xiàn)代視聽(tīng);2007年04期

5 袁瀟;盧鋒;;動(dòng)畫(huà)電影：成人永恒的瑰麗夢(mèng)想[J];電影文學(xué);2008年03期

6 張?jiān)伱?;中國(guó)動(dòng)畫(huà)電影情在何處[J];銅陵學(xué)院學(xué)報(bào);2009年03期

7 梁漢森;孫宏達(dá);;國(guó)產(chǎn)3D動(dòng)畫(huà)電影:摸著石頭過(guò)河[J];當(dāng)代電影;2009年12期

8 葛玉清;;時(shí)間之維:動(dòng)畫(huà)電影故事的敘述特性[J];電影評(píng)介;2009年19期

9 符冰;;從麥兜電影的爭(zhēng)議看中國(guó)動(dòng)畫(huà)電影的突圍[J];電影評(píng)介;2009年21期

10 黃迎春;;淺議動(dòng)畫(huà)電影仿真[J];電影評(píng)介;2009年21期

相關(guān)會(huì)議論文 前4條

1 王麗莎;;巧安排、興波瀾——?jiǎng)赢?huà)電影中的懸念設(shè)計(jì)與運(yùn)用[A];中國(guó)創(chuàng)意設(shè)計(jì)年鑒論文集2012[C];2013年

2 劉躍軍;;立體動(dòng)畫(huà)電影發(fā)展空間研究[A];2009中國(guó)電影電視技術(shù)學(xué)會(huì)影視技術(shù)文集[C];2010年

3 周來(lái);;動(dòng)畫(huà)電影《魁拔之十萬(wàn)火急》的中國(guó)元素[A];中國(guó)創(chuàng)意設(shè)計(jì)年鑒論文集2012[C];2013年

4 江娟;;從傳統(tǒng)“美猴王”到Q版“孫小猴”——從文化產(chǎn)品的商業(yè)屬性看國(guó)產(chǎn)動(dòng)畫(huà)電影中“美猴王”傳統(tǒng)形象的變遷[A];“傳播與中國(guó)·復(fù)旦論壇”（2009）——1949-2009：共和國(guó)的媒介、媒介中的共和國(guó)論文集[C];2009年

相關(guān)重要報(bào)紙文章 前10條

1 何巍;關(guān)于動(dòng)畫(huà)電影的兩個(gè)思考[N];中國(guó)文化報(bào);2008年

2 記者 劉悠揚(yáng);大力支持“深圳制造”動(dòng)畫(huà)電影[N];深圳商報(bào);2009年

3 本報(bào)記者 邢宇皓;國(guó)產(chǎn)動(dòng)畫(huà)電影應(yīng)向海外大片學(xué)什么[N];光明日?qǐng)?bào);2009年

4 邢宇皓;國(guó)產(chǎn)動(dòng)畫(huà)電影應(yīng)向海外大片學(xué)什么[N];今日信息報(bào);2009年

5 牛興偵;動(dòng)畫(huà)電影：投資有“數(shù)”,點(diǎn)金有“術(shù)”[N];中國(guó)文化報(bào);2010年

6 記者 郭人旗;首屆動(dòng)畫(huà)電影投資論壇舉辦[N];中國(guó)文化報(bào);2010年

7 邵楊;中國(guó)動(dòng)畫(huà)電影：如何爭(zhēng)取延伸受眾群[N];中國(guó)藝術(shù)報(bào);2011年

8 本報(bào)記者 孟剛;國(guó)產(chǎn)動(dòng)畫(huà)電影該如何分享“奶酪”？[N];中國(guó)消費(fèi)者報(bào);2011年

9 牛興偵;中國(guó)動(dòng)畫(huà)電影市場(chǎng)突現(xiàn)井噴[N];中國(guó)文化報(bào);2011年

10 本報(bào)記者 于帆;動(dòng)畫(huà)電影以營(yíng)銷(xiāo)搶占先機(jī)[N];中國(guó)文化報(bào);2011年

相關(guān)博士學(xué)位論文 前7條

1 吳斯佳;文學(xué)經(jīng)典傳承視野下的動(dòng)畫(huà)電影改編研究[D];浙江大學(xué);2014年

2 張麗;中國(guó)當(dāng)代動(dòng)畫(huà)片藝術(shù)特征嬗變[D];北京電影學(xué)院;2017年

3 周晨;文化生態(tài)的衍變與中國(guó)動(dòng)畫(huà)電影發(fā)展研究[D];蘇州大學(xué);2011年

4 吳限;比較視野下的中國(guó)動(dòng)畫(huà)電影發(fā)展研究[D];中國(guó)藝術(shù)研究院;2015年

5 孫振濤;3D動(dòng)畫(huà)電影研究：本體理論與文化[D];華東師范大學(xué);2011年

6 肖路;國(guó)產(chǎn)動(dòng)畫(huà)電影的傳統(tǒng)美學(xué)風(fēng)格及其文化探源[D];華東師范大學(xué);2006年

7 王靈麗;中美動(dòng)畫(huà)電影敘事比較研究[D];復(fù)旦大學(xué);2013年

相關(guān)碩士學(xué)位論文 前10條

1 林亞玲;日本動(dòng)畫(huà)電影的傳播分析及對(duì)我國(guó)的啟示[D];華南理工大學(xué);2011年

2 王毅萍;論音樂(lè)合成技法在當(dāng)代動(dòng)畫(huà)電影中的運(yùn)用[D];中國(guó)地質(zhì)大學(xué);2011年

3 馬曉騰;基于流行音樂(lè)元素的動(dòng)畫(huà)電影娛樂(lè)性研究[D];陜西科技大學(xué);2012年

4 逯一勝;中國(guó)動(dòng)畫(huà)電影創(chuàng)意問(wèn)題研究[D];吉林大學(xué);2012年

5 馬祥;新世紀(jì)以來(lái)國(guó)產(chǎn)動(dòng)畫(huà)電影的發(fā)展與對(duì)策研究[D];重慶工商大學(xué);2012年

6 張婧;跨文化視角：美國(guó)動(dòng)畫(huà)電影在中國(guó)的傳播[D];重慶工商大學(xué);2012年

7 余惠婷;臺(tái)灣動(dòng)畫(huà)電影題材創(chuàng)新策略探析[D];福建師范大學(xué);2012年

8 李少林;中國(guó)動(dòng)畫(huà)電影民族風(fēng)格研究[D];西北民族大學(xué);2012年

9 榮韜;九十年代以來(lái)國(guó)產(chǎn)動(dòng)畫(huà)電影的文化觀念演變[D];安徽工程大學(xué);2012年

10 趙青;論動(dòng)畫(huà)電影的生態(tài)敘事策略[D];浙江大學(xué);2012年

，

本文編號(hào)：2355032