【作者】 邓文华；

【导师】 黄鸣奋；

【作者基本信息】 厦门大学 ， 文艺学， 2008， 博士

【摘要】 近年来,文化产业在全球范围内的凸兴已是一个不争的事实。在此背景下,数字艺术产业也取得了可观的发展。与发达国家和地区相比,我国海峡两岸的数字艺术产业都起步不久,尚未形成巨大的效应。不过,近年来海峡两岸都出台了很多关于发展文化产业的政策,这为数字艺术产业的勃兴创造了机会。本文所说的数字艺术,是指以数字媒介为生产、传播和接受工具,实现了以“0”和“1”为编码与解码原则的艺术;其产业化受惠于大众文化、消费文化在全球范围内的风靡与流行。从社会定位来讲,数字艺术产业是文化产业的一个分支。就表现形态来看,数字艺术产业主要有七种形式,即:互联网艺术产业、手机媒体艺术产业、数字电影产业、动漫产业、数字电视产业、游戏产业、DV艺术产业。本文主要就前面四种数字艺术产业进行比较研究。其中,对互联网艺术产业和手机媒体艺术产业的分析分别以网络文学和短信文学的产业化为重点,而对动漫产业的分析则主要以动画片的生产为重点。大体来看,海峡两岸数字艺术产业存在下述相似之处:在艺术生产方面,主题、风格及产业模式均存在“叙事"趋同倾向。在艺术传播方面,存在接受同步情况,一是指数字艺术在媒介的帮助下,在“第一时间”、以“第一现场”的形式在两岸同步传播;二是指境外的数字艺术在海峡两岸同步传播。在艺术接受方面,存在“消费共鸣”现象。比如,李安导演的《卧虎藏龙》,张艺谋导演的《英雄》在两岸都获得了高票房的收入,引起了广泛的共鸣。诚然,海峡两岸数字艺术产业这三种相似之处是各种因素综合作用的结果。以“叙事”趋同为例,它既是全球化背景下“叙事”趋同的体现和反映,也与数字艺术的产业化操作有关。不过,总的来看还是受媒介影响的结果。比如,两岸手机短信文学语言的诗性特征,从根本上来说是受手机媒介限制、影响的结果,即每条短信只能发送70个汉字。又以“接受同步”为例,它的出现也与很多因素有关,比如防盗版、防泄密的需要等。但是,以互联网为代表的数字媒介的应用才是问题的关键。同样,“消费共鸣”的出现也是各种因素综合作用的结果。不过,文化是一个很关键的因素。因为,从接受美学的角度来看,两岸数字艺术接受过程中共鸣的产生,与两岸人民具有相同的文化心理结构这一事实具有不可分割的联系。一般而言,受众的文化心理结构相同或相似,就比较容易产生心理上的共鸣。本文认为,海峡两岸之间的任何比较研究,无论是政治、经济方面的比较研究,还是文化、艺术方面的比较研究,都应有一个历史启示和归宿,即我们应在探讨相关论题历史渊源和发展现状的基础上,为两岸之间的交流与合作提供有意义的分析和借鉴。毕竟,在海峡两岸交流日趋频繁的今天,走向融合和统一已是大势所趋,学术的研究也应该履行共同的民族职责和使命,为创造一个和平、繁荣的中国而努力。因此,本文最后从全球化的角度简要阐述了两岸数字艺术产业交流与合作的重要性,它包括资金、技术、人才培养等方面的内容。更多还原

【Abstract】 Recently, a fact that can not be denied is that the cultural industry is emerging worldwide. Under such environment, the digital art industry is also developing optimistically. However, compared with developed countries and regions, the development in our country is just at the initial stage, and did not cause huge effect until now. Whereas, there are many policies concerning developing cultural industry across the Taiwan strait issued, which creates many opportunities for the prosperity of digital art industry.The digital art mentioned hereby refers to the art with digital media as tools for production, transmission and reception. In this way, it realizes the goal of decoding and coding with bits of 0 and 1. The industrialization of digital art is benefited from the global popularization of popular culture and consumption culture. From the point of view of social orientation, digital art culture is just a branch of cultural industry. Seen from its representational condition, digital art industry mainly can be divided into seven kinds, namely, internet art industry, mobile media art industry, digital film industry, animation and comic industry, digital television industry, game industry, DV art industry. The thesis mainly does the comparisons between the first four. Among them, the analysis between internet art industry and mobile media art industry mainly focus on cyber literature and short message literature respectively. And the analysis of comic industry mainly focuses on the introduction of cartoons.Generally speaking, the similarities of digital art industry across the Taiwan strait are as follows: from the aspect of art introduction, we can sense that the tendencies of theme, style as well as industry mode all develops towards the same direction. From the aspect of art transmission, the phenomena of simultaneous reception appears, which means that on the one hand, with the help of media, digital art can be broadcast at the same time in the form of "the front line" in "the first time"; secondly, it means that the digital art from abroad is broadcasted across the strait simultaneously. Form the aspect of art reception; it appears the phenomena of "consumption resonance". For example, the film by Ann Lee, Crouching Tiger, Hidden Dragon as well as Hero directed by Zhang Yimou still has gained very good box office across strait as well as positive influence. However, these three similarities are the result of different kinds of effects. Take "narration"convergency as an example, it is either a kind of reflection of "narration"convergency under global background, but also has something to do with the operation of digital art industrialization. But generally speaking, it is influenced by media. For example, the poetic characteristic of literature language of cross-strait short messages, fundamentally speaking, is influenced by the limitation of mobile media and influence. That is, the maximum number of words for each short message to be sent must be within 70. Take another example of "simultaneous reception", its appearance is also related with many other factors, such as burglarproof, secret release proof and so on. But the application of digital media with internet as symbol is the key to the problem. At the same time, the appearance of "consumption resonance" is also the integrated effect of different kinds of facts. But culture is a very important factor. Because, from the point of view of Aesthetics Reception, the introduction of resonance during the process of accepting cross-straight art, is closely related with the fact that the cross-straight mass has same cultural structure. Generally speaking, if the audience’s cultural ideological structure is same or similar, it is relatively easy to cause psychological resonance.According to the thesis, any cross-strait comparison studies, no matter politically, economically or from the aspect of literature or art, there should be a historical hint and end-result, that is, we should provide meaningful analysis on the basis of discussing the history and status quo of related topics. After all, today, due to the increasing prosperity of cross straight communication, the general tendency of going towards reunification and blending is settled down. And our national academic study should also fulfill the common national responsibility and commission, aiming to create a peaceful and prosperous China. Therefore, at last, the thesis clarifies the importance of communication and cooperation of cross-strait digital art industry. It includes capital, technology, talent cultivation and so on.更多还原