【摘要】：論文主要通過研究中國故事類漫畫及其它國家優(yōu)秀的故事漫畫作品所呈現(xiàn)的風(fēng)格特征及影響它們發(fā)展的內(nèi)在和外在因素,希望可以總結(jié)出經(jīng)驗(yàn),使用合適的故事漫畫語言并融入本土的風(fēng)格,有選擇的借鑒,將中國故事漫畫的個(gè)性魅力發(fā)揚(yáng)。論文中故事漫畫這個(gè)詞是依據(jù)一些傳統(tǒng)分類方法和當(dāng)今一些漫畫網(wǎng)站的分類方式做出的歸納,更能體現(xiàn)漫畫在講述故事方面所具有的豐富特征和吸引力。從對(duì)美國和日本兩個(gè)國家故事漫畫的特征分析得出,兩者所呈現(xiàn)的種種差異豐要是受民族文化影響,比如東西文化在價(jià)值觀方面的不同會(huì)體現(xiàn)在漫畫中,在表達(dá)上美國的超級(jí)英雄漫畫更直接,而日本漫畫會(huì)婉轉(zhuǎn)一些,這些都是通過畫面的布局轉(zhuǎn)換和環(huán)境的渲染以及對(duì)人物性格的塑造來呈現(xiàn)的,而且不同的線條擁有不同的情緒,主要依情境而定。這些聯(lián)系決定了如果我們單純的模仿只能永遠(yuǎn)流于表面,在一些日本漫畫所塑造的人物中,那些性格特征鮮明的形象很受人們的喜愛,而這些特征往往帶有受民族文化長久熏染的印記,或多或少蘊(yùn)含一些民族性格與情趣,并不是憑空捏造的,如果為了討人歡迎而描繪一個(gè)類似的人物,就顯得不夠生動(dòng)了。所以想要突破,就要做真實(shí)的自己,少去模仿。除了這些文化差異給故事漫畫帶來的風(fēng)格迥異的魅力,故事漫畫還可以體現(xiàn)創(chuàng)作者意圖并反映時(shí)代風(fēng)貌,作者個(gè)性對(duì)其作品的品質(zhì)與創(chuàng)新有重要影響,這種個(gè)性為故事漫畫多樣性的發(fā)展提供了動(dòng)力。接下來論文中對(duì)故事漫畫的發(fā)展進(jìn)行思考并提出建議。通過對(duì)比與創(chuàng)作實(shí)踐來理解故事類漫畫創(chuàng)作的手法,擁有東方文化土壤的中國的故事漫畫更多的借鑒了日式漫畫的風(fēng)格,這種融合有其自然的原因,也需要發(fā)掘自身的特色,我們除了學(xué)習(xí)對(duì)方優(yōu)秀的一面,也同樣應(yīng)該學(xué)習(xí)其借鑒其它文化而在創(chuàng)新中發(fā)揚(yáng)自身文化的經(jīng)驗(yàn)。最后論文通過對(duì)影響中國漫畫發(fā)展的內(nèi)在和外在因素的分析來了解中國故事漫畫發(fā)展現(xiàn)狀：中國原創(chuàng)漫畫網(wǎng)站于21世紀(jì)初期開始增多,互聯(lián)網(wǎng)使漫畫流通更加便利但也造成了漫畫市場(chǎng)魚龍混雜,而且畫風(fēng)以日式風(fēng)格為主。漫畫創(chuàng)作群體相對(duì)分散,時(shí)代需要我們創(chuàng)作出個(gè)性的漫畫,通過欣賞優(yōu)秀中國傳統(tǒng)連環(huán)畫的藝術(shù)語言,來體味我們自己文化的魅力并為當(dāng)代故事漫畫創(chuàng)作找到借鑒之處,比如對(duì)中國傳統(tǒng)繪畫方式的傳承,從文學(xué)作品中尋找靈感,還有豐富的表現(xiàn)方式以及民俗內(nèi)容等,而且傳統(tǒng)連環(huán)畫中所擁有的民族審美觀與價(jià)值觀念,也應(yīng)當(dāng)提醒到我們應(yīng)當(dāng)分清是非黑白,藝術(shù)追求真、善、美,這是一道準(zhǔn)則。由此可見我國的故事漫畫擁有豐厚的資源作為探索道路的動(dòng)力。優(yōu)秀的故事漫畫作品除了它講故事的形式,更能打動(dòng)人的是故事的內(nèi)容,需要兩者仂、力。當(dāng)代中國涌現(xiàn)了不少優(yōu)秀故事類漫畫作者,他們中有不少是致力于創(chuàng)作屬于自己風(fēng)格作品的人,不管走哪種道路,不要忘記忠實(shí)于內(nèi)心與生活,才有可能賦予故事漫畫生命力。
[Abstract]:By studying the style features and the internal and external factors that affect the development of the Chinese story cartoons and other country's excellent story comic works, the paper hopes to sum up experience, use the appropriate story comic language and integrate into the local style, and have the choice of reference, and the personality charm of the Chinese story comics. The word "story comic" in this paper is based on some traditional classification methods and the classification of some comic websites today. It can also reflect the rich features and attraction of comics in telling stories. From the analysis of the characteristics of the two national story comics in the United States and Japan, the difference between the two shows the differences. If it is influenced by the national culture, such as the different values of the eastern and Western cultures in the comics, the superhero comics in the United States are more direct, and the Japanese comics will be euphemistic, all of which are presented through the transformation of the layout, the rendering of the environment and the characterization of the characters, and the different lines. They have different emotions, mainly depending on the situation. These connections determine that if our simple imitation can only be on the surface forever, among the characters in some Japanese comics, those personalities are very popular, and these features often have a permanent impression of national culture, more or less. The character and interest of some ethnic groups are not fabricated. If they are to describe a similar person for the sake of popularity, it is not vivid enough. So if you want to break through, you need to make a real self and less imitation. In addition to the different glamour to the story comics, the story comic can also reflect the creator. The author's personality has an important influence on the quality and innovation of his works. This personality has provided the impetus to the development of the variety of the story comics. In the following paper, the author thinks and puts forward some suggestions on the development of the story comics. The Chinese story caricatures of the soil are more of the style of Japanese comics. This fusion has its natural reasons and needs to discover its own characteristics. In addition to learning the excellent side of each other, we should also learn from the experience of learning from other cultures in the innovation of our own culture. The analysis of the internal and external factors of the development of painting to understand the current situation of the development of Chinese story Comics: the Chinese original cartoon website began to increase in the early twenty-first Century. The Internet makes the comic circulation more convenient but also the comic market is mixed, and the style of painting is based on Japanese style. The creation of personality comics, through the appreciation of excellent Chinese traditional comic art language, to taste the charm of our own culture and to find lessons for contemporary story comic creation, such as the inheritance of traditional Chinese painting, from literary works to find inspiration, and rich ways of expression and folklore content, and so on. The national aesthetic view and value concept in the series of comic books should also remind us that we should distinguish between non black and white, art pursuit of truth, good and beauty, which is a criterion. So it can be seen that the story comics in our country have rich resources as the motive force of exploring the road. Human being is the content of the story. There are many excellent comic writers in contemporary China. Many of them are devoted to the creation of their own style of work. No matter which way, do not forget to be faithful to the heart and life, it is possible to give the life of the story manga.
【學(xué)位授予單位】：沈陽建筑大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J218.2

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1 仙子;故事漫畫的魅力及中國故事漫畫的潛力研究[D];沈陽建筑大學(xué);2014年

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本文編號(hào)：2171249