【摘要】：日本電視動(dòng)畫(huà)的制作與播出,其原作大多都是來(lái)自漫畫(huà)。當(dāng)漫畫(huà)期刊上連載的漫畫(huà)受到大眾的歡迎,并其單行本銷量達(dá)到一定數(shù)量后,出版社與動(dòng)畫(huà)制作公司將進(jìn)行商討來(lái)決定是否改編成動(dòng)畫(huà)片。筆者在經(jīng)過(guò)多次的日本動(dòng)畫(huà)片與漫畫(huà)作品欣賞后,發(fā)現(xiàn)很多動(dòng)畫(huà)在分鏡時(shí)會(huì)參考原著漫畫(huà)的分鏡,但畢竟影視動(dòng)畫(huà)的分鏡是指示動(dòng)態(tài)的鏡頭設(shè)計(jì),與紙面上的靜態(tài)分鏡不同,因此會(huì)出現(xiàn)不同的表現(xiàn)手法。比較與分析兩者之間的聯(lián)系與區(qū)別,深入探討兩者的各種分鏡細(xì)節(jié),是本文的主要研究?jī)?nèi)容。 根據(jù)鏡頭語(yǔ)言的各種表達(dá)方式與技巧,解析與比較漫畫(huà)與動(dòng)畫(huà)的分鏡畫(huà)面內(nèi)容與組接表現(xiàn)手法等。從比較研究到案例研究,在總結(jié)規(guī)律后進(jìn)行歸納研究,全文從日本漫畫(huà)改編為動(dòng)畫(huà)這一產(chǎn)業(yè)模式入手,通過(guò)研究分鏡來(lái)尋找兩者相同與不同之處,探究出其運(yùn)用規(guī)律。第一章緒論部分從課題研究背景開(kāi)始闡述,再結(jié)合國(guó)內(nèi)外現(xiàn)狀來(lái)表示此次課題在理論范圍內(nèi)的空缺,并說(shuō)明研究目的；第二章,動(dòng)畫(huà)分鏡與漫畫(huà)分鏡的概念,此部分界定了本文中所指的漫畫(huà)與動(dòng)畫(huà)的研究范圍及兩者的分鏡含義;第三章與第四章即是開(kāi)始對(duì)動(dòng)畫(huà)與漫畫(huà)的分鏡進(jìn)行比較,提出論點(diǎn)通過(guò)案例分析來(lái)驗(yàn)證論點(diǎn)。第五章則是研究結(jié)果對(duì)個(gè)人的專業(yè)技能及我國(guó)動(dòng)畫(huà)漫畫(huà)分鏡的一些啟示。 欣賞與學(xué)習(xí)研究日本的漫畫(huà)分鏡改編為動(dòng)畫(huà)分鏡,貫徹分鏡語(yǔ)言等理論知識(shí),理論與探索研究相結(jié)合,找出兩者在分鏡上的異同點(diǎn),總結(jié)出其運(yùn)用的規(guī)律。有效地結(jié)合自我實(shí)踐經(jīng)歷與知識(shí),對(duì)這一比較過(guò)程進(jìn)行系統(tǒng)化的分析,并反復(fù)歸納來(lái)完成此次課題的研究。 本文研究成果主要是：填補(bǔ)現(xiàn)階段文獻(xiàn)與著作等理論研究在動(dòng)畫(huà)與漫畫(huà)在分鏡上的異同比較方面的空白,通過(guò)不斷歸納與總結(jié)分鏡改編的繪制規(guī)律,達(dá)到個(gè)人與我國(guó)在此方面的理論和技術(shù)的提升作用。 本文的創(chuàng)新點(diǎn)即是以分鏡為視角來(lái)進(jìn)行日本的漫畫(huà)改編為漫畫(huà)的比較性理論研究。在動(dòng)畫(huà)分鏡的研究與日本動(dòng)畫(huà)漫畫(huà)產(chǎn)業(yè)模式的研究之類的文獻(xiàn)越來(lái)越多的近幾年,本文將兩者結(jié)合起來(lái)進(jìn)行研究的論文則可謂是較為嶄新的著眼點(diǎn)。
[Abstract]:Japanese TV animation production and broadcast, its original works are mostly from comic books. When comics published in comic journals are popular with the public and sales of monographs reach a certain number, publishers and animation companies will discuss whether to adapt them to cartoons. After watching Japanese cartoons and comic books for many times, the author finds that many animations will refer to the original comics when they are split, but after all, the film and television animation's split mirror is a dynamic lens design, which is different from the static separation on paper. Therefore, there will be different ways of expression. It is the main research content of this paper to compare and analyze the relationship and difference between the two, and to probe into the detail of each kind of mirror. According to the various expression methods and techniques of lens language, this paper analyzes and compares the content and expression techniques of comics and animations. From the comparative study to the case study, after summing up the law, the thesis starts with the industrial model of Japanese comic book adaptation to animation, and finds out the similarities and differences between the two through the research on the mirror, and explores the rules of their application. The first chapter begins with the background of the research, and then combines the domestic and foreign situation to express the lack of the topic in the theoretical scope, and explains the purpose of the research; The second chapter, the concept of animation and cartoon mirror, this part defines the research scope of cartoon and animation and the meaning of the two. The third chapter and the fourth chapter are beginning to compare the animations and comics, and put forward a case study to verify the argument. The fifth chapter is the results of the study of personal professional skills and Chinese animated cartoon mirror some inspiration. Appreciation and study of Japanese Comic Mirror adapted into Animated Mirror, carry out the theoretical knowledge of Mirror differentiation language, combine theory with exploratory research, find out the similarities and differences between them and sum up the rules of their application. Combining self-practice experience and knowledge effectively, this comparative process is systematically analyzed, and summarized repeatedly to complete the research of this subject. The main research results of this paper are as follows: to fill the gap in the comparison of the similarities and differences between animation and cartoon in the mirror, and to summarize and summarize the drawing law of the rearrangement of the split mirror through the continuous induction and summary of the drawing rules of the rearrangement of the split mirror. To achieve the individual and our country in this field of theory and technology to enhance the role. The innovation of this paper is to study the comparative theory of Japanese comics adaptation into comics from the perspective of split-mirror. In recent years, there are more and more documents such as the research of animation sub-mirror and the research of Japanese cartoon industry model. The paper combining the two is a relatively new focus.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J954;J218.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前5條

1 李常慶;日本現(xiàn)代漫畫(huà)出版研究[J];北京大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);1999年05期

2 張英明;張毅;;鏡頭語(yǔ)言在漫畫(huà)中的運(yùn)用與分析[J];包裝世界;2011年03期

3 劉紅琴;;動(dòng)畫(huà)片分鏡臺(tái)本的創(chuàng)作構(gòu)思[J];成功(教育);2010年11期

4 何建平;劉潔;;日本動(dòng)漫產(chǎn)業(yè)運(yùn)作模式研究——兼論對(duì)中國(guó)動(dòng)漫產(chǎn)業(yè)的啟示[J];當(dāng)代電影;2009年07期

5 周舟;劉琥;劉葵;;論中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)鏈條始端到中端的合理發(fā)展過(guò)程——從漫畫(huà)到動(dòng)畫(huà)的產(chǎn)業(yè)跨躍[J];新聞界;2009年03期

相關(guān)碩士學(xué)位論文 前4條

1 張禮堅(jiān);漫畫(huà)符號(hào)和漫畫(huà)視框在動(dòng)畫(huà)中的運(yùn)用研究[D];湖南工業(yè)大學(xué);2010年

2 劉穎;我國(guó)動(dòng)畫(huà)產(chǎn)業(yè)發(fā)展模式研究[D];電子科技大學(xué);2005年

3 廖娟娟;從漫畫(huà)到動(dòng)畫(huà)的藝術(shù)創(chuàng)作研究[D];武漢理工大學(xué);2007年

4 趙容浩;淺談漫畫(huà)和動(dòng)畫(huà)創(chuàng)作的相互作用[D];湖南師范大學(xué);2010年

，

本文編號(hào)：2360475