【作者】 段运冬；

【导师】 虞吉；

【作者基本信息】 西南师范大学 ， 电影学， 2004， 硕士

【摘要】 以动画品格的探查和诠释为起点，对世纪之交动画景观进行系统性的梳理，依据这种品格特性对当下动画艺术发展进行前瞻性展望，以期还原动画艺术的整体风貌和形态特征，并逐渐过渡到多角度多层面地呈现动画所主导的各种文化迹象。因而，通过本体性形态资质的找寻来确立动画研究这一基础性工程，便是论文孜孜不倦的目标。围绕着这个中心议题，论文将以下几个方面进行论述和探讨： 第一个部分是通过对动画影像进行比较性甄别，利用比较研究、理论研究以及图像学、风格学、符号学、形态学等当下视觉文化使用的诸多研究方法，充分挖掘影像所显示出来的与电影、绘画等图式风格完全不同的品格特性，并进行归纳与总结，揭示动画品格显现出来的影像风格之图式本性、叙事符码的符号学资质、幻动性的观影错觉以及戏谑性的叙事效果，深入、立体、全面地考察动画的品格形态。与此相应，还将对动画文化生态进行探查并在此基础上完整展现动画文化生态的品格特征。从理论上对动画品格进行探讨，不论是对动画品格还是动画的文化生态而言，这种研究都将面临一种理论冒险，尤其是对这种宏大性话题的探讨更是如此，但是对动画品格的影像文化的新究一一动顶盯研究深入性分析与探讨是决定着动画研究向着纵深化维度延展的关键性前提，它也必将成为这次努力的重点。 依据动画投射出来的品格资质对动画艺术和动画现象进行分类上的重新划定和动画源流的重考是论文努力的第二部分。进行分类上的划定必然要涉及分类的“标准”问题，动画依据不同的划分标准可以呈现为千姿百态的类别样式，文章对动画艺术所进行的解剖性工作和对动画历史的考古学发现都将依赖于前面所进行的品格探讨。因而，依据重新确定的品格特征对动画艺术进行重构性的组合与排列是非常必须的。 由动画电影、电视动画、网络动画、动画广告等共构的动画现象是世纪之交的一道亮丽的风景线，对这种动画景观的简单厘清不仅成为深入探讨动画品格所做的重要努力，它直接关涉与规制着动画研究在理论方面的纵深化发展。当然，这种铺垫不是仅仅限定在书写上简单的“起承转合”式的文字游戏中，而是通过对当下动画艺术的清理和动画文化的展现，通过历史研究的诸多方法和视角以明示出动画研究，特别是对动画的基础性特质的探讨对整个动画现象的关键性作用，对动画景观的交代、动画景观生成缘由的窥视以及动画艺术的弥散性和渗透性的把握是呈现世纪之交动画景观的三个主要领域。 对动画艺术进行预测与展望是文章结语的重要工作。对深莫可测的未来进行把握原本是人类认知视域中最忌讳的陷阱，任何一个主体都可以毫无忌惮地对过去发表任何评论，但面临未来的时空时往往显得犹豫不决或停滞不前。明知会深深落入这样一个陷滩，但依然执迷不悟地对未来动画做着或许是“可笑”的预测，是因为这种逼近动画本体的品格资质为我们提供了强大的自信支撑，理所应当地成为探究性工作的有机组成部分。更多还原

【Abstract】 At the connection of 20th century and 21st century, in order to restore the whole style and shape feature of animation art and present various cultural phenomena mainly guided by animation through multiple angles and aspects, first the author annotates and makes a thorough inquiry of animation character, then sorts out animation spectacle systematically and last looks forward to the developing trends of contemporary animation art by character. The aim of this thesis is to build the basic project of animation research by looking for ontological shape and natural endowments. This thesis will expound this central subject under discussion by the following aspects:The first part of this thesis fully taps the characters of image that showsdifferent schematic style from film and painting by using methods of comparative study and theoretical study and by using methods of contemporary visual culture, such as: iconology, theories of style, semiotics, morphology and so on. The author thinks the characters of image include schematic character, natural endowments of semiotics of narrative code, unstable illusion when seeing a film and bantering narrative effect. At the same time, the author fully demonstrates us the character of cultural ecosystem of animation by looking into the cultural ecosystem of animation. In order to deeply develop animation art, the author makes an adventure on the grand study of animation and tries to analyze and discuss animation character seriously.The second part of this thesis observes and studies origin and development of animation again and reclassifies animation art and animation phenomenon by natural endowments that animation cast. - As we know, different animations have different styles and different styles lead to different classified standards. However, the author reconstructs animation art mainly by discussing former animation character.The deeper developing of animation research in theories depends on co-construction of animation films, TV animation programs, web animation and animation advertisement. At the connection of 20th century and 21st century, the three major fields of animation spectacle are to check up and demonstrating contemporary animation art and animation culture, to discuss the basic characters of animation by different history research methods andangles of view and to analyze the forming causes of animation spectacle and grasp the features of decentralization and permeation of animation art.The concluding remarks of this thesis looks into the future of animation art. Though the author knows it is difficult to look forward to the future, the author still prospects for the development of animation art on the base of discussing ontological character and natural endowment of animation.更多还原