【作者】 周晨；

【导师】 倪祥保；

【作者基本信息】 苏州大学 ， 戏剧影视文学， 2011， 博士

【摘要】 近一个世纪中,与中国动画电影传播密不可分的政治、经济、文化和技术等因素组成的社会历史语境都发生了很大的变化。不断发展变化着的社会历史语境,在相当程度上有力影响了中国动画电影的意义模式表达、作品形态构成和艺术风格特色等诸多方面。从一定意义上来说,中国动画电影在题材内容选择、艺术观念走向和审美风格流变等方面的历史进展,都在其更为广阔的文化生态发展变迁中烙下深刻的时代印记,同时也以自身的创造发展,反映和影响其所在时代的文化生态。因此,从文化生态和中国动画电影进展之间所具有的互动影响、相生相关情况来加以观照、研究,无疑是研究中国动画电影发展史一个比较新颖独特而有价值的角度。本文将文化生态和中国动画电影进展结合起来进行观照、研究,绝不仅仅是对相关作品及史料进行简单的描述和梳理,而是认真地将中国动画电影放到与其密切相关的社会历史语境及文化生态中加以仔细考察研究,即通过相关的历史性梳理、回顾和分析研究,努力描绘揭示中国社会不同时代文化生态现实与相关动画电影发展之间有机相关的现象及原因。全文对中国动画电影的历史发展主要划分这样几个阶段:中国动画的学步与发展(1926——1948)——民族化动画的别样辉煌(1949—1966…1978)——中国学派的固守与式微(1979——1994)——全球化背景下的产业化进程(1995——2010)。关于这样阶段划分及命名,需要说明的是:首先,对各个阶段的划分界定,主要根据中国动画电影自身发展情况来确定,其中大部分阶段明显跟中国社会政治历史发展阶段完全一致,这正好说明中国动画电影的历史进展与中国社会政治历史发展及相应的文化生态具有密不可分的关系。其次,中国动画电影的历史进展在其相关发展阶段所拥有的主要特征,并非说明其在相关阶段一定是完全纯粹的或者说是绝对排他的,因为中国动画电影的历史进展尽管有很多的起伏变化,但是从来就血脉相连,除了经常会“与历史有惊人的相似”,也自然会有不可避免的螺旋式上升。再次,十年文革,文艺发展十分萧条,动画电影也是如此,在其不多作品中所表现出来的特征,总体上来说与十七年的一脉相承(在某些方面发展可能要更为偏颇一些),所以没有必要另外加以划分。本文将被国际同行赞誉的“动画中国学派”的源起时期的代表作前移至《铁扇公主》的见解,对于关注中国动画电影在艺术与商业方面努力实现有机而完美的结合,将具有很强的现实意义和积极的历史影响。经过对于文化生态与中国动画电影进展的相关历史研究,可以使人看到既往的成就与不足,看清发展愿景及必由之路,倡导并坚持艺术民族化、文化产业化和营销全球化这样的理念和实践,努力在新的社会历史语境下和不断发展着的社会文化生态中,不断创造中国动画电影的新辉煌。更多还原

【Abstract】 In the recent century, the socio-historical contexts, including the political, economic, cultural and technological circumstances, which are closely related with the animated films, have changed significantly. Chinese animated films, which can be defined as, in this paper, all the animations before the birth of TV animations and all the cinema animations in China mainland, have been largely and greatly influenced by the changing socio-historical contexts in the aspects like meaning expression patterns, works construction/composition and artistic style, etc. In a sense, the history of China’s animated films have been deeply impressed with the imprint of the times in the aspects of subject or content selection, trends of artistic concepts and the aesthetic style evolution in its extensive course of cultural-ecological development, and meanwhile, the films reflect and influence the contemporary cultural ecology with their own creations and progress. Therefore, without a doubt, it is a relatively novel, distinct and valuable viewpoint to study the development of Chinese animated films from the perspective of cultural ecology, and try to outline an interactive prospect in-between clearly.This dissertation tries to combine the cultural ecology and the development of China’s animated films to make some observations and research through careful investigation in its closely related socio-historical contexts and cultural ecology background, i.e., via a study on the relevant historical explanations, reviews and analyses try to describe the organic and correlative phenomena between China’s cultural-ecological realities of different times and corresponding developments of animated films, rather than a simple description of some related works and data. This thesis divides the major historical development phases of Chinese animated films as follows, the imitation and development of China’s animations (1926—1948)—the glory of nationalized animated films (1949—1966…1978)—the adherence and decline of Chinese School (1979—1994)—the industrialization in the context of globalization (1995—2010). Concerning such separation and denomination of the phases, it is important to note that, firstly, the separation and definition of phases is made mainly according to the development of China’s animated films, largely coincides with the political and historical phases of China’s society, which demonstrate the close relations between the evolution of Chinese animations and the historical development of China’s society with corresponding cultural ecology; secondly, the major characteristics of the phase of Chinese animations in question are not absolutely pure or exclusive because actually they share the whole integrity and common kinship, and are always in fluctuation, so it’s no surprise for the saying of“it is so strikingly similar to that in history”and the inevitable spiral development; and thirdly, animated films in the ten years of Cultural Revolution were in the great depression, which is also true for all literature and arts, and the traits shown in a few works of that time come down in one continuous line with those of the former 17 years, and as a result, it is not necessary to divide otherwise. Moreover, this paper puts Princess Iron Fan as the beginning masterpiece of the so called“Chinese School of Animation”with its original thoughts, and it would be of great practical significance t and far-reaching historical influence for its achievement of organic and perfect combination of art and commerce.Through the study on the cultural ecology and related historical progresses of China’s animated films, we can make clear its past achievements and shortcomings, and distinguish the vision and the inevitable course of development and promote and uphold the concepts and practices of nationalized art, industrialized culture and globalized marketing in order to create new glories for the Chinese animated films continuously in new historical and social contexts and the improved cultural ecology.更多还原