【作者】 李三强；

【导师】 张玉能；

【作者基本信息】 华中师范大学 ， 文艺学， 2011， 博士

【摘要】 本论文以动画美学为观照对象,首先探讨了动画艺术的媒介本性,接着分析了动画艺术的美学特征、动画之美的创造、动画之美的中国形态,最后联系当下探讨了数字时代动画美学的变化与趋势。第一章为“‘变相性’：动画艺术的媒介本性”。本章将重点提出“变相性”这一核心概念。研究动画美学必须确立好动画艺术审美考察的逻辑起点,这个逻辑起点应当是动画之所以为动画的东西,也就是动画本性。动画本性既不是美术性,也不是电影性,虽然动画在发展过程中的确从造型艺术、电影艺术以及其他传统艺术(比如音乐、舞蹈、文学等)中吸取了大量艺术要素,但是动画艺术并不是这些艺术要素的混合体,这些艺术要素早已在动画艺术中化合成了新质,这种新质我们可以称之为动画性。动画性既有与传统艺术相通的地方,也有自己独有的东西。本文认为,动画作为一种媒介,其动画性就具体体现为“变相性”,“变”是“变形”的意思,“相”在这里特指人工创造的非真实活动影像。“变相性”不同于真人电影的“照相性”,它不是物质世界的复原,与现实生活也不具有天然的近亲性。“变相性”从本质上规定了动画艺术必须区别于以“照相性”为媒介本性的真人影视,它与真人影视具有一种先天的间离关系。另外,“变相性”也明显有别于以逼真性为旨归的特技电影(即追求逼真的非真实活动影像,比如《大白鲨》中的鲨鱼,《阿甘正传》中与总统握手的场景)。“变相性”概念的提出将有助于深化我们对动画本性的认识。在提出“变相性”这一概念之后,本章接着深入分析了“变相性”在动画艺术中的具体表现和功用。第二章为“‘变相’之美：动画艺术的审美显现”。本章将从动画艺术的“变相”本性出发,考察动画艺术中蕴含的“变相”之美。首先论述了“变相”之美来自何处,源头在哪里,接着探讨了“变相”之美的生成原理,然后阐述了“变相”之美的主要特性,即运动性、间离性、夸张性、虚拟性……当然“变相”之美的具体表现,在不同作品中是有所差异的,同一个特性在不同动画艺术作品中会或强或弱,或显或隐,这其实也是动画艺术风格差异化的重要原因。最后还论述了影响“变相”之美的具体显现的几大因素：媒介、材质、受众、时代、地域(民族)……。第三章为“‘变相’之美的创造”。本章将考查动画艺术中的“变相”之美是如何创造出来的。首先论述了动画艺术与现实生活的关系；接着介绍了动画艺术创作的三个基本流程；最后结合我国动画创作实际,重点分析了创造动画“变相”之美的两个关键问题：动画思维与动画情感表达,阐释了动画思维的特点和情感表达的特殊性。第四章为“‘变相’之美的中国形态”。首先分析了我国动画艺术的发展历程；接着考察了我国动画发展史上“变相”之美的流变与特征；以及“中国学派”为我国动画艺术“变相”之美所作的贡献；最后阐释了我国动画“变相”之美的现实境遇和未来展望。第五章为“数字时代的‘变相’之美”。本章将重点分析数字时代“变相”之美的新变化。首先分析了数字技术给动画生态带来的冲击；接着分析了数字时代给动画美学带来的新变化以及数字时代动画创作的发展趋势；最后提出应当警惕数字时代“变相”之美的负面效应。最后一章为结语。在对全文进行简要总结之后,重点阐释本文的创新点和写作中遇到的难点,写作中存在的遗憾,以及对我国动画美学研究提出一些展望与建议。更多还原

【Abstract】 This thesis regards animation esthetics as the research object, studying the essence of the animation art first; analyzing the esthetics characteristic of the animation art, the creation of the animation art, and the Chinese appearance of animation esthetics immediately after; finally inquiring into the esthetic variety in animation art and the trend of animation esthetics in the digital age.Chapter 1 is ’"The deformation as the characteristic’:the medium essence of the animation art". This chapter will focus on the proposed "the deformation as the characteristic" idea of this one core. Study of animation aesthetics must establish the logic starting point. The logical starting point should be the reason for the animation nature of things. The animation nature of things is not art, not the movies, though the animation art in the process of development is from the arts, film arts and other traditional arts and learn a lot of artistic elements, but the animation art is not the mixture of the art elements. These art elements already are combined to be a new quality in the animation art, which we can regard as the characteristic of animation. The Animation art has the same thing held by traditional arts, also has its own unique things. This article thinks that animation is used as a kind of medium, so the essence of the animation art should be "the deformation as the characteristic", which differs from "the photograph as the characteristic". The animation art should not be the material world of recovery, and should not have the natural close relative with real life.Because of "Deformation", the animation art must be distinguished from the live action movie which essence is "the photograph as the characteristic". Moreover, because of "Deformation", animation art mus not be lifelike like the stunt movie. The concept of "deformation" will help us to deepen our understanding of the essence of animation. At last, this chapter does further in-depth analysis of the the specific embodiment and realization way of animation "deformation".Chapter 2 is "the beauty of ’deformation’:the animation art’s aesthetic appearance". This chapter will inspect the beauty of "deformation", after understanding "the deformation as the characteristic". Firstly this chapter discusses how the beauty of "deformation" comes from, then discusses the generating principle of the beauty of "deformation", next elaborates the several characteristics of the beauty of "deformation", namely the activity, alienation, exaggeration, virtuality...... Of course, the specific performance of the beauty of "deformation" is different in different animation art works. The same characteristics in different animation art works will be strong or weak, either explicitly or implicitly, which is also an important reason leading to different animation art styles in fact. Finally, this chapter discusses several factors that influence the beauty of "deformation":medium, material, audience, age, geographical (national).Chapter 3 is "the creation of the beauty of ’deformation’". This chapter will explain how the beauty of "deformation" is created in the animation art. First this chapter discusses the relations between the animation art and actuality life, then introduces three basic processes of the animation art creation, finally contacting the animation creation practice in our country, focuses on the analysis of two key questions about the creation of the beauty of "deformation":thinking and emotional expression, explains the characteristics of the thinking and the specificity of the animation art’s emotional expression.Chapter 4 is "the Chinese appearance of the beauty of ’deformation’". Firstly this chapter analyzes the development process of the animation art in China, then examines the history of the development and characteristics of the beauty of "deformation" in Chinese animation art, and the contribution which is done by "Chinese School".Chapter 5 is "the beauty of ’deformation’ in the digital age". This chapter will mainly analyze the new changes of the beauty of "deformation" in the digital age. At first, this chapter analyzes the ecological impact of digital technology on the animation art, then studies new change and development trend of the animation aesthetics which are brought by the digital age.Finally, it should be alert to the negative effect of the animation aesthetics in the digital age.The last chapter is the conclusion. After summarizing the thesis, this chapter mainly explains the innovation point of this paper, the writing difficulties, the regret in writing, at last puts forward some prospects and suggestions to animation esthetics research of our country.更多还原