“傳神阿堵”在動(dòng)畫角色塑造中的作用及意義
發(fā)布時(shí)間：2018-11-25 21:48
【摘要】：本文以顧愷之的"傳神阿堵"論為切入點(diǎn),通過以人物眼睛的描繪來表達(dá)其內(nèi)心情感,將這種方式運(yùn)用于動(dòng)畫作品當(dāng)中,探尋其對(duì)于動(dòng)畫作品中角色塑造所起到的作用及意義。本文共分為四個(gè)主要章節(jié):開篇為引言,其中包含內(nèi)容有論文的選題目的及意義、研究概況、研究方法;第一章中談到了"傳神阿堵"論的歷史溯源,以及"傳神阿堵"論在中國繪畫中的繼承,還有在民間藝術(shù)中的發(fā)展和對(duì)動(dòng)畫作品中角色塑造的啟發(fā);第二章通過結(jié)合經(jīng)典的動(dòng)畫作品實(shí)例介紹了以動(dòng)畫角色的眼睛造型而體現(xiàn)出的內(nèi)在精神,還有以眼睛的神態(tài)呈現(xiàn)角色的正反派特征和內(nèi)心的情緒;第三章以經(jīng)典動(dòng)畫片為例分析了在劇情當(dāng)中角色的內(nèi)心情感通過眼部的動(dòng)作來表現(xiàn),其中分別分析了動(dòng)畫角色之間通過對(duì)視動(dòng)作所傳遞的情感與觀眾之間形成的無聲共鳴,以角色眼睛動(dòng)作節(jié)奏的不同對(duì)傳達(dá)角色情感所產(chǎn)生的影響,以及瞳孔的動(dòng)作設(shè)計(jì)對(duì)角色內(nèi)心情感的詮釋;第四章通過上述分析對(duì)"傳神阿堵"論運(yùn)用于動(dòng)畫角色塑造中所產(chǎn)生的作用和意義進(jìn)行總結(jié)。研究如何表現(xiàn)角色內(nèi)心情感,使角色具有飽滿的性格和豐富的精神世界,以充滿生命力的表演將角色內(nèi)心情感傳達(dá)給觀眾,讓觀眾對(duì)動(dòng)畫角色有深層次的了解與溝通,進(jìn)而產(chǎn)生情感上的共鳴,我們需要在創(chuàng)作思路上做出改變,將動(dòng)畫創(chuàng)作的側(cè)重點(diǎn)由表及里進(jìn)行轉(zhuǎn)移,通過動(dòng)畫角色眼睛造型與動(dòng)作的設(shè)計(jì),達(dá)到傳情達(dá)意的情感體現(xiàn)。讓角色用眼睛說話,給動(dòng)畫角色賦予生命,以"傳神阿堵"的方式來詮釋故事的內(nèi)涵,使動(dòng)畫作品具有靈魂和生命力。
[Abstract]:This article regards Gu Kaizhi's theory of "impersonation and blockage" as the breakthrough point, expresses his inner emotion through the description of the character's eyes, applies this way to the animation works, and probes into the role and significance of the character shaping in the animation works. This article is divided into four main chapters: the beginning of the introduction, including the content of the purpose and significance of the topic, research overview, research methods; The first chapter talks about the historical origin of the theory, the inheritance of the theory in Chinese painting, the development of folk art and the inspiration to the role shaping in animation works. The second chapter introduces the inner spirit embodied by the eye modeling of the animated characters, and presents the positive and negative features and inner emotions of the characters by the appearance of the eyes. The third chapter takes the classic cartoon as an example to analyze the inner emotion of the characters in the plot through the action of the eyes, and analyzes the silent resonance between the emotion transmitted by the animation characters through the action of looking at each other and the audience. The influence of the rhythm of the role eye movement on the communication of the role emotion, and the interpretation of the character inner emotion by the pupil action design; The fourth chapter summarizes the role and significance of the theory in animation character shaping through the above analysis. This paper studies how to express the inner emotion of the character, make the character have full character and rich spiritual world, convey the inner emotion of the character to the audience with the performance of vitality, so that the audience can have a deep understanding and communication about the animated character. In order to produce emotional resonance, we need to make a change in the creative thinking, the focus of animation creation from the surface to the inside to transfer, through the animation character eye modeling and action design, achieve emotional expression. Let the characters speak with their eyes, give life to the animated characters, interpret the meaning of the story in the way of "impressing the gods", and make the animation works have soul and vitality.
【學(xué)位授予單位】：內(nèi)蒙古大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J954
本文編號(hào)：2357469
[Abstract]:This article regards Gu Kaizhi's theory of "impersonation and blockage" as the breakthrough point, expresses his inner emotion through the description of the character's eyes, applies this way to the animation works, and probes into the role and significance of the character shaping in the animation works. This article is divided into four main chapters: the beginning of the introduction, including the content of the purpose and significance of the topic, research overview, research methods; The first chapter talks about the historical origin of the theory, the inheritance of the theory in Chinese painting, the development of folk art and the inspiration to the role shaping in animation works. The second chapter introduces the inner spirit embodied by the eye modeling of the animated characters, and presents the positive and negative features and inner emotions of the characters by the appearance of the eyes. The third chapter takes the classic cartoon as an example to analyze the inner emotion of the characters in the plot through the action of the eyes, and analyzes the silent resonance between the emotion transmitted by the animation characters through the action of looking at each other and the audience. The influence of the rhythm of the role eye movement on the communication of the role emotion, and the interpretation of the character inner emotion by the pupil action design; The fourth chapter summarizes the role and significance of the theory in animation character shaping through the above analysis. This paper studies how to express the inner emotion of the character, make the character have full character and rich spiritual world, convey the inner emotion of the character to the audience with the performance of vitality, so that the audience can have a deep understanding and communication about the animated character. In order to produce emotional resonance, we need to make a change in the creative thinking, the focus of animation creation from the surface to the inside to transfer, through the animation character eye modeling and action design, achieve emotional expression. Let the characters speak with their eyes, give life to the animated characters, interpret the meaning of the story in the way of "impressing the gods", and make the animation works have soul and vitality.
【學(xué)位授予單位】：內(nèi)蒙古大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J954
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，本文編號(hào)：2357469
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