中国动画电影的若干弊端与解决方法的研究
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摘要
与现今的中国动画电影艺术在国际上的地位不同,在20世纪世界动画电影的舞台上,中国动画电影曾经以其独有的民族魅力和艺术表现手法被赞誉为“中国动画学派”。在经过了上世纪末叶的步履蹒跚甚至停滞不前的状态后,近年来中国的动漫艺术得到了政府政策强有力的支持,各地的动漫创作团队逐渐扩大,动漫基地逐年增多,动漫作品的产量也急剧增加。动漫产业在中国如火如荼的发展,动画电影作为动漫艺术的一个重要分支在这种大环境下,突破了旧的经营模式,取得了长足进步。但是发展中也暴露出了诸多问题。随着动漫创意产业的发展,对动画电影的研究也成为学界和业界的焦点之一,但是国内对于动画电影的研究很大一部分都是侧重于从动画的产业化发展的角度或者如何营销的角度进行研究,也有很少的一部分是从美学的角度和制作技术角度进行论述或研究。缺少对动画文本本体弊端的分析以及对我国的动画理念的重新审视。比如对动画的精神本质的认识,对动画电影创意瓶颈原因的分析,对如何结合动画电影中各叙事要素的功能来体现民族特色,如何对待古典的和现代化题材的动画类型,对动画电影叙事模式单一化的探讨等。本文采取总分总的格局,共分三个部分。第一章为第一部分,在这一章中,文章简要考察中国动画电影的发展环境和发展现状,在此基础上分析中国动画电影在创意理念上的孱弱之处,在故事的选择与讲述上的弊端,在融入本土特色上的不足之处。第二章至第四章为文章的第二部分,在这一部分中,本文对第一章中提出的问题进行逐一剖析,逐一地提出一些改进的思路和方法。文章的第五章是总结部分,在这一部分中文章将对全文所得出的一些思路和方法进行简要的归纳总结。
本文力图细化到具体的动画电影的创作要素上进行论证。试图找到一些适合拓宽或改进未来中国动画电影发展的创作理念的可行思路和方法,结合分析动画电影叙事要素的具体功能,分析中国动画电影如何在叙事中和角色塑造中更好的融入民族特色,探寻如何改进中国动画电影重视模仿轻视原创的现状,分析丰富中国动画电影的叙事手法的必要性,最后进行总结。
It is different from today's role of Chinese animation film art in international, Chinese animation film was claimed as the "Chinese animation school", because of its unique national charm and artistic expression. After the end of the last century hobbled even stagnant condition , on the one hand China's animamix art obtains the government’s strong support on the other hand around the anime creative team expands gradually, the cartoon base increase annually, cartoon works, the output is also increased dramatically. Animation industry in China is growing vigorously, animation film as an important branch of animamix art broke the old business model, and has made considerable progress. Many problems were revealed in this process. Film and television animation works have become a focus of study. But the research often focuses on industrialization and technology, a few of paper study the animation from a perspective of esthetic. The analysis of animation text ontology and the reviewing of animation concept are absent. For example, the understanding of spiritual nature of animation, the bottleneck of originality caused by the narrow orientation of audience, the precious resource of the national culture lack reasonable mining and ingenious expression, the simplification of narrative pattern, etc. The thesis is divided into three parts that contains five chapters. In the first chapter, article will investigate the Chinese animation film development environment and the developing situation briefly, on these bases the article will analysis the disadvantage of creative idea, the defect of the choice and narrative of story, the deficiencies of blending national characteristics. The second chapter to the fourth chapter is part two of this article. This article will study the question that proposed in first chapter. And some improvement ideas and methods will be proposed respectively in this part. The thoughts and methods will be summarized briefly in the fifth chapter.
The purpose of this article is not to obtain metaphysical researches or macroscopic theory,but try to find a little thoughts and methods that can be beneficial to the update of creative idea and development of the Chinese animation film. Find a way to integrate the national characteristic to the animation roles, on the premise of mastering the specific function of the narrative elements. Seek methods to change the condition that emphasizing imitation and ignoring originality. Analyze the necessity of enriching narrative technique. At the end, this article will give a conclusion.
本文力图细化到具体的动画电影的创作要素上进行论证。试图找到一些适合拓宽或改进未来中国动画电影发展的创作理念的可行思路和方法,结合分析动画电影叙事要素的具体功能,分析中国动画电影如何在叙事中和角色塑造中更好的融入民族特色,探寻如何改进中国动画电影重视模仿轻视原创的现状,分析丰富中国动画电影的叙事手法的必要性,最后进行总结。
It is different from today's role of Chinese animation film art in international, Chinese animation film was claimed as the "Chinese animation school", because of its unique national charm and artistic expression. After the end of the last century hobbled even stagnant condition , on the one hand China's animamix art obtains the government’s strong support on the other hand around the anime creative team expands gradually, the cartoon base increase annually, cartoon works, the output is also increased dramatically. Animation industry in China is growing vigorously, animation film as an important branch of animamix art broke the old business model, and has made considerable progress. Many problems were revealed in this process. Film and television animation works have become a focus of study. But the research often focuses on industrialization and technology, a few of paper study the animation from a perspective of esthetic. The analysis of animation text ontology and the reviewing of animation concept are absent. For example, the understanding of spiritual nature of animation, the bottleneck of originality caused by the narrow orientation of audience, the precious resource of the national culture lack reasonable mining and ingenious expression, the simplification of narrative pattern, etc. The thesis is divided into three parts that contains five chapters. In the first chapter, article will investigate the Chinese animation film development environment and the developing situation briefly, on these bases the article will analysis the disadvantage of creative idea, the defect of the choice and narrative of story, the deficiencies of blending national characteristics. The second chapter to the fourth chapter is part two of this article. This article will study the question that proposed in first chapter. And some improvement ideas and methods will be proposed respectively in this part. The thoughts and methods will be summarized briefly in the fifth chapter.
The purpose of this article is not to obtain metaphysical researches or macroscopic theory,but try to find a little thoughts and methods that can be beneficial to the update of creative idea and development of the Chinese animation film. Find a way to integrate the national characteristic to the animation roles, on the premise of mastering the specific function of the narrative elements. Seek methods to change the condition that emphasizing imitation and ignoring originality. Analyze the necessity of enriching narrative technique. At the end, this article will give a conclusion.
引文
①周鲒.动画导演[M].广州:暨南大学出版社, 2009, 201.
①刘阳.媒介转型论[M].中国传媒大学出版社,2008, 188.
①夏波,黄永春.探寻后殖民语境下国产动画电影的叙事策略[J].电影评介, 2010,7: 24.
①贾建明.中国动画业到底缺什么[N].中国图书商报,2008-12-23.
②薛燕平.非主流动画电影[M].中国传媒大学出版社,2007,199.
③考林霍斯金斯.全球电视和电影[M]:刘丰海译.新华出版社,2004.
①於水.中国动画亟待“成人”意识[J].电影艺术,2008,3:27.
①於水.中国动画亟待“成人”意识[J].电影艺术,2008,3.
①吴月玲.类型化:电影市场的大蛋糕[N].中国艺术报,2010.
①赫伊津哈.游戏者[M].成穷译.贵阳:贵州人民出版社,2007, 15.
①刘阳.媒介转型论[M].中国传媒大学出版社,2008,200.
①[俄]巴赫金.巴赫金全集[M],白春仁等译.河北教育出版社,1998, 370.
①吴月玲.类型化:电影市场的大蛋糕[N].中国艺术报,2010.
①李亦中,姚忠礼.动画编剧[M].重庆大学出版社, 2008,116.
①夏波,黄永春.探寻后殖民语境下国产动画电影的叙事策略[J].电影评介, 2010,24.
①彭吉象.影视美学[M].北京大学出版社, 2006, 280.
①李显杰.电影叙事学:理论和实例[M].中国电影出版社,2000.325.
②黄会林.黄会林影视戏剧艺术论文集[C].北京师范大学出版社,2002 .17.
③宗白华.意境[M].北京大学出版社, 1987.
①彭吉象.影视美学[M].北京大学出版社,2006, 38.
②邵培仁.艺术传播学[M].南京大学出版社,1992, 54.
[1]周鲒.动画导演[M] .广州:暨南大学出版社,2009.
[2]薛燕平.非主流动画电影[M].北京:中国传媒大学出版社,2007.
[3]考林霍斯金斯.全球电视和电影[M].刘丰海译,北京:新华出版社,2004.
[4]於水.中国动画亟待“成人”意识[J] .电影艺术,2008.
[5]彭吉象.影视美学[M] .北京:北京大学出版社,2006.
[6]赫伊津哈.游戏者[M].成穷译.贵阳:贵州人民出版社,2007.
[7]丹纳.艺术哲学[M] .傅雷译.天津:天津社会科学院出版社,2004.
[8]叶郎.美学原理[M].北京:北京大学出版社, 2009.
[9]李显杰.电影叙事学:理论和实例[M].北京:中国电影出版社,2000.
[10]黄会林.黄会林影视戏剧艺术论文集[C].北京:北京师范大学出版,2002.
[11]宗白华.意境[M].北京:北京大学出版社, 1987.
[12]房晓溪.动画角色设计[M].北京:印刷工业出版社2008.
[13]彭玲.动画创意产业[M].上海:东方出版中心,2004.
[14]秦刚.感受宫崎骏[C].北京:文化艺术出版社,2004.
[15]贾否,路盛章.动画概论[M].北京:北京广播学院出版社,2002.
[16]佟婷.动画艺术概论[M].北京:中国传媒大学出版社2007.
[17]夏波,黄永春.探寻后殖民语境下国产动画电影的叙事策略[J].电影评介,2010.
[18]李彦,曹小卉.日本动画类型分析[M] .北京:海军出版社,2009.
[19]贾建明.中国动画业到底缺什么[N].中国图书商报,2008.
[20]秦明亮.动画造型与设计艺术[M].北京:中国人民大学出版社,2005.
[21]李亦中,姚忠礼.动画编剧[M].重庆:重庆大学出版社,2008.
[22]张惠临.动画艺术史[M].陕西:陕西人民出版社,2002.
[23]孟军.动画电影视听语言[M].湖北:湖北美术出版社,2008.
[24]王一夫,侯毅.动画剧本创作与营销[M].北京:电子工业出版社,2006.
[25]王川,武寒青.动画前期创意[M].北京:高等教育出版社, 2003.
[26]吴月玲.类型化:电影市场的大蛋糕[N].中国艺术报,2010.
[27]章柏青,张卫.电影观众学[M].北京:中国电影出版社,1994.
[28]梁英.大众叙事与文化家园——韩国电视剧叙事文化研究[M].四川:华夏出版社,2008.
[29]刘阳.媒介转型论[M].北京:中国传媒大学出版社,2008.
[30]巴赫金.巴赫金全集[M],白春仁等译.河北:河北教育出版社,1998.
[31]邵培仁.艺术传播学[M].南京:南京大学出版社,1992.
[32]安德烈戈德罗,弗朗索瓦若斯特.什么是电影叙事学[M].刘云舟译,北京:北京商务出版社,2005.
①刘阳.媒介转型论[M].中国传媒大学出版社,2008, 188.
①夏波,黄永春.探寻后殖民语境下国产动画电影的叙事策略[J].电影评介, 2010,7: 24.
①贾建明.中国动画业到底缺什么[N].中国图书商报,2008-12-23.
②薛燕平.非主流动画电影[M].中国传媒大学出版社,2007,199.
③考林霍斯金斯.全球电视和电影[M]:刘丰海译.新华出版社,2004.
①於水.中国动画亟待“成人”意识[J].电影艺术,2008,3:27.
①於水.中国动画亟待“成人”意识[J].电影艺术,2008,3.
①吴月玲.类型化:电影市场的大蛋糕[N].中国艺术报,2010.
①赫伊津哈.游戏者[M].成穷译.贵阳:贵州人民出版社,2007, 15.
①刘阳.媒介转型论[M].中国传媒大学出版社,2008,200.
①[俄]巴赫金.巴赫金全集[M],白春仁等译.河北教育出版社,1998, 370.
①吴月玲.类型化:电影市场的大蛋糕[N].中国艺术报,2010.
①李亦中,姚忠礼.动画编剧[M].重庆大学出版社, 2008,116.
①夏波,黄永春.探寻后殖民语境下国产动画电影的叙事策略[J].电影评介, 2010,24.
①彭吉象.影视美学[M].北京大学出版社, 2006, 280.
①李显杰.电影叙事学:理论和实例[M].中国电影出版社,2000.325.
②黄会林.黄会林影视戏剧艺术论文集[C].北京师范大学出版社,2002 .17.
③宗白华.意境[M].北京大学出版社, 1987.
①彭吉象.影视美学[M].北京大学出版社,2006, 38.
②邵培仁.艺术传播学[M].南京大学出版社,1992, 54.
[1]周鲒.动画导演[M] .广州:暨南大学出版社,2009.
[2]薛燕平.非主流动画电影[M].北京:中国传媒大学出版社,2007.
[3]考林霍斯金斯.全球电视和电影[M].刘丰海译,北京:新华出版社,2004.
[4]於水.中国动画亟待“成人”意识[J] .电影艺术,2008.
[5]彭吉象.影视美学[M] .北京:北京大学出版社,2006.
[6]赫伊津哈.游戏者[M].成穷译.贵阳:贵州人民出版社,2007.
[7]丹纳.艺术哲学[M] .傅雷译.天津:天津社会科学院出版社,2004.
[8]叶郎.美学原理[M].北京:北京大学出版社, 2009.
[9]李显杰.电影叙事学:理论和实例[M].北京:中国电影出版社,2000.
[10]黄会林.黄会林影视戏剧艺术论文集[C].北京:北京师范大学出版,2002.
[11]宗白华.意境[M].北京:北京大学出版社, 1987.
[12]房晓溪.动画角色设计[M].北京:印刷工业出版社2008.
[13]彭玲.动画创意产业[M].上海:东方出版中心,2004.
[14]秦刚.感受宫崎骏[C].北京:文化艺术出版社,2004.
[15]贾否,路盛章.动画概论[M].北京:北京广播学院出版社,2002.
[16]佟婷.动画艺术概论[M].北京:中国传媒大学出版社2007.
[17]夏波,黄永春.探寻后殖民语境下国产动画电影的叙事策略[J].电影评介,2010.
[18]李彦,曹小卉.日本动画类型分析[M] .北京:海军出版社,2009.
[19]贾建明.中国动画业到底缺什么[N].中国图书商报,2008.
[20]秦明亮.动画造型与设计艺术[M].北京:中国人民大学出版社,2005.
[21]李亦中,姚忠礼.动画编剧[M].重庆:重庆大学出版社,2008.
[22]张惠临.动画艺术史[M].陕西:陕西人民出版社,2002.
[23]孟军.动画电影视听语言[M].湖北:湖北美术出版社,2008.
[24]王一夫,侯毅.动画剧本创作与营销[M].北京:电子工业出版社,2006.
[25]王川,武寒青.动画前期创意[M].北京:高等教育出版社, 2003.
[26]吴月玲.类型化:电影市场的大蛋糕[N].中国艺术报,2010.
[27]章柏青,张卫.电影观众学[M].北京:中国电影出版社,1994.
[28]梁英.大众叙事与文化家园——韩国电视剧叙事文化研究[M].四川:华夏出版社,2008.
[29]刘阳.媒介转型论[M].北京:中国传媒大学出版社,2008.
[30]巴赫金.巴赫金全集[M],白春仁等译.河北:河北教育出版社,1998.
[31]邵培仁.艺术传播学[M].南京:南京大学出版社,1992.
[32]安德烈戈德罗,弗朗索瓦若斯特.什么是电影叙事学[M].刘云舟译,北京:北京商务出版社,2005.
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