發(fā)布時(shí)間：2018-11-28 18:44

【摘要】：中國(guó)動(dòng)畫自誕生以來(lái)就一直以其獨(dú)特的民族特色深入人心,其對(duì)于民族文化的運(yùn)用贏得了世界動(dòng)畫界的認(rèn)同和贊譽(yù)。但后來(lái)在商業(yè)利益的驅(qū)使下,絕大部分的動(dòng)畫制作方為了迎合消費(fèi)者口味,大量抄襲和模仿日美動(dòng)畫風(fēng)格,摒棄了中國(guó)動(dòng)畫特有的民族特色,失去了民族個(gè)性�；厥字袊�(guó)動(dòng)畫發(fā)展歷程,為中國(guó)動(dòng)畫贏取了國(guó)際贊譽(yù)的優(yōu)秀動(dòng)畫作品,都具有強(qiáng)烈的民族風(fēng)格。換句話說,重視民族文化、正視民族文化、重拾民族文化以及積極傳播民族文化才是現(xiàn)代中國(guó)動(dòng)畫的出路。 云南是中國(guó)西南地區(qū)靜待發(fā)掘的一塊民族藝術(shù)寶地。除漢族以外共還有25個(gè)少數(shù)民族,這些豐富的民族文化和藝術(shù)元素是動(dòng)畫藝術(shù)創(chuàng)作取之不盡的創(chuàng)新源泉。本文通過對(duì)云南少數(shù)民族文化的研究,挖掘、歸納、提煉其審美特性,探討把云南少數(shù)民族藝術(shù)元素滲入到動(dòng)畫的劇本創(chuàng)作,角色設(shè)計(jì)和場(chǎng)景設(shè)計(jì)之中的方法。這對(duì)于動(dòng)畫藝術(shù)的民族風(fēng)格創(chuàng)新研究具有非常重要意義的工作。 從另一方面說,云南少數(shù)民族地區(qū)擁有非常多的非物質(zhì)文化遺產(chǎn),這些民族文化的瑰寶正日漸消逝,這對(duì)于中華文化是一項(xiàng)無(wú)法估量的損失。而動(dòng)畫所具有獨(dú)特的虛擬性與復(fù)原性,可以幫助這些正在消失的非物質(zhì)文化遺產(chǎn)傳承,這種傳承對(duì)于歷史文化遺產(chǎn)和動(dòng)畫藝術(shù)都具有非常重要的意義。因此開展民族文化調(diào)查、發(fā)展民族特色動(dòng)畫、保護(hù)傳承非物質(zhì)文化遺產(chǎn)是對(duì)我們的挑戰(zhàn),也是我們作為動(dòng)畫工作者的責(zé)任。希望本文能給從事民族動(dòng)畫創(chuàng)作的同行帶來(lái)一些啟發(fā)。
[Abstract]:Chinese animation has always been popular with its unique national characteristics since its birth, and its use of national culture has won recognition and praise from the world's moving-painting circles. But later, driven by commercial interests, most of the animation producers in order to meet the needs of consumers, a large number of copying and imitation of Japanese and American animation style, abandoned the unique national characteristics of Chinese animation, lost their national personality. Looking back on the development of Chinese animation, Chinese animation won international acclaim excellent animation works, with a strong national style. In other words, attaching importance to national culture, facing up to national culture, recovering national culture and actively propagating national culture are the outlet of modern Chinese animation. Yunnan is a national art treasure in southwest China. There are 25 ethnic minorities in addition to Han nationality. These rich elements of national culture and art are the inexhaustible source of innovation in animation art creation. Based on the research, excavation, induction and extraction of the aesthetic characteristics of Yunnan minority culture, this paper probes into the ways to infiltrate the artistic elements of Yunnan ethnic minorities into the script creation, character design and scene design of the animation. This is of great significance to the study of the national style innovation of animation art. On the other hand, Yunnan ethnic minority areas have a lot of intangible cultural heritage, these national cultural treasures are fading away, which is an incalculable loss to Chinese culture. The unique fictitious and restorative nature of animation can help these intangible cultural heritage which is disappearing which is of great significance to historical cultural heritage and animation art. Therefore, it is our challenge to carry out the investigation of national culture, to develop the animation with national characteristics and to protect and inherit the intangible cultural heritage. Hope this article can bring some inspiration to the counterparts engaged in ethnic animation creation.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J954;G122

【參考文獻(xiàn)】

相關(guān)期刊論文 前5條

1 楊冬梅;;動(dòng)畫片劇本創(chuàng)作的思維方法及其規(guī)律[J];電影文學(xué);2009年13期

2 張鶴;;國(guó)產(chǎn)動(dòng)畫角色造型設(shè)計(jì)的風(fēng)格解讀[J];科技信息;2009年31期

3 鐘遠(yuǎn)波;;兒童動(dòng)畫受眾群體淺析[J];美術(shù)大觀;2008年01期

4 杜·伏科蒂克 ,楚漢 ,汪海 ,諶三;動(dòng)畫電影劇作[J];世界電影;1987年06期

5 楊云峰;;戲劇情境解說[J];戲劇之家;2002年01期

相關(guān)博士學(xué)位論文 前1條

1 黃蘇瑾;中國(guó)動(dòng)畫劇作的民族化研究[D];南京師范大學(xué);2007年

相關(guān)碩士學(xué)位論文 前1條

1 王Pr;宮崎駿導(dǎo)演藝術(shù)研究[D];重慶大學(xué);2007年

，

本文編號(hào)：2363919