宫崎骏对动漫人物身体的美学塑造,动漫设计论文.docx

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1、宫崎骏对动漫人物身体的美学塑造,动漫设计论文【题目】宫崎骏对动漫人物身体的美学塑造 【绪论】 【第一章】 【第二章】 【第三章】 【第四章】 【结论/以下为参考文献】 中文内容摘要 时代的进步，生活价值的多元化，人们对精神追求越来越深奥玄妙，越来越复杂化。随着动漫文化的兴起和发展，在儿童群体里流行了起来，同时也遭到一些大龄少年的喜欢。时代发展到如今，动漫领域中，宫崎骏无疑已经成为一座不可逾越的高山，他将充满魔幻现实主义浪漫色彩的动画不断呈现给全世界观众。所谓的动漫电影既有艺术层面连续运动性的审美特征，也有以漫画绘画为代表的语言审美趣味。动画电影中审美趣味是在审美主体对客体审美活动和实践中具体表

2、现出出来的。审美主体感受方向、感受内容和审美愉悦程度遭到审美对象及动画电影审美价值的客观具体表现出；在动画电影鉴赏中，心理因素和感情是相通的，欣赏动画时，能够唤起人们心理体验过的感情就是审美体验。动漫喜好者之所以喜欢宫崎骏，很大程度上是由于其动漫有着多样化的人物塑造，各种动漫人物表现或者是诙谐、或者是生动活泼、或者是意趣丰富，贴近生活，又充满着对当下社会各种现在状况的抨击褒贬。从不谙世事的儿童，到饱经沧桑的中年，再到悲天悯人的耄耋老者，为观众展现出一个个活灵敏现的人物。切切实实的将历史演变，人物百态通过一个个动漫人物展现了出来。在后当代哲学语境中，动漫身体已经成为一个重要的研究方向，动漫身体不

3、仅仅代表了生理层面的血肉之躯，更是社会、历史、文化的生成物，身体也是我们认识世界，解读历史与将来的一种重要的方式，宫崎骏在其动漫创作中塑造了形形色色的角色身体模型，在它们的身上同时也寄托了宫崎骏对世界的理解和考虑，也应该成为我们解读宫崎骏作品的一个重要方式。 基于此，本文主要以宫崎骏动画为例，以动漫美学中的动漫人物对身体的塑造展开考虑，大致思路如下，首先在绪论部分介绍了本文的研究背景、研究意义、研究现在状况、研究方式方法等问题。在第二章中对动漫人物与身体塑造的问题进行了集中的阐述，对动漫人物的特点和动漫人物的身体塑造的方式方法和意义展开了详细的分析。第三章中主要分析了宫崎骏动漫创作，从宫崎骏动

4、漫的创作历程、创作背景展开分析讨论。在第四章中分析了宫崎骏动漫人物的主要类型以及宫崎骏动漫中不同类型人物的身体塑造，从纯真与完美的女主角，英俊与果敢的男主角，呈现多样化姿态的配角，介于人与动物之间的角色，角色身体造型中的辅助策略等几个详细方面展开。第五章中讨论宫崎骏动漫人物身体塑造的美学价值及启示，笔者以为宫崎骏的动漫美学价值主要表如今下面几个方面，如对万物有灵的推崇，对女性身心的关心，对自然环境的反思，对多维人性的考虑，对终极意义的追求等。宫崎骏动漫人物的身体塑造也启示我们，要擅长开掘民族化的风格与特色，在人物塑造中注入寓意与哲理，尊重艺术本体。 宫崎骏在不断的关注世界，关注我们的现实生活，

5、他与他的作品始终心灵清澈，而这种 清澈 绝不像 少年 那样脆弱、易逝，它有着坚不可毁的感染力，造就了自个清澈而深入的人文主义世界。对于宫崎骏人物身体美学的研究，当前还没有多少研究者牵涉，笔者只是在细读作品的基础上，从动画设计学、身体美学等学科知识出发进行了粗浅的阐述，有关宫崎骏人物身体塑造的阐释仍需要进一步的研究。 本文关键词语：宫崎骏，动漫人物，身体塑造 Abstract With the diversification of life value of the era , people s spiritual pursuit more subtle , morecomplicated.Fo

6、r the rise and strong momentum of development of the animation industry ,animation favorable cultural phenomenon in groups of children in popularity, even by some olderteenagers alike . In the field of animation , Hayao Miyazaki animated film has undoubtedlybecome a classic , he will be full of magi

7、c realism romantic cartoon constantly presented toaudiences around the world , and created a well-known film brands. Animation film both artisticaesthetic characteristics of continuous motion , but also as the representative of the language ofpainting cartoon aesthetic taste .Animated film aesthetic

8、 taste is reflected in the aesthetic subjectto the object of aesthetic activity and practice. Aesthetic direction of the main feelings , feelingcontent and degree of aesthetic pleasure and aesthetic objects being animated films reflect theaesthetic value of the objective . In the animated film appre

9、ciation , the psychological andemotional factors are interlinked, when listening to animation, can evoke feelings of psychologicalexperience is the aesthetic experience too .Hayao Miyazaki s anime fans like about anime islargely because it has all kinds of cartoon character creation , with a variety

10、 of characterization,the performance of various cartoon characters or witty , or liveliness or charm is abundant ,welcomed and loved by everyone .Children from worldly to the vicissitudes of middle-agedworkers , to the compassion of the oldest old , Miyazaki for the audience to show one vividcharact

11、er.In the context of the post-modern philosophy , the body has become an importantresearch direction , the body not only represents the physical level of flesh and blood , it is social,historical , cultural product , but also our understanding of the world body , the interpretation ofhistory and the

12、 future an important way ,Miyazaki animation creation shaping its role in all sortsof physical models in their body and also pinned Miyazaki understanding and thinking about theworld , it should also become an important way for us to interpret the works of HayaoMiyazaki .Miyazaki animation creation

13、shaping its role in all sorts of physical models in theirbody and also pinned Miyazaki understanding and thinking about the world , it should alsobecome an important way for us to interpret the works of Hayao Miyazaki . Based on this, mainly as an example of Hayao Miyazaki animated cartoon character

14、s cartoonaesthetics of the body shape to start thinking, the general idea of this paper is as follows ,First, inthe introduction section introduces the research background and significance, research status andresearch methods and other issues . In the second chapter of the cartoon characters werepro

15、blems with the body shape of the discussion focused on the characteristics and methods ofcartoon characters and cartoon characters meaning body shaping launched a detailedanalysis.The third chapter analyzes the Miyazaki animation creation , expand analysis fromHayao Miyazaki s animation to explore t

16、he creative process , creative background . In thefourth chapter analyzes the major types of Hayao Miyazaki Hayao Miyazaki anime cartooncharacters , as well as the body shape of the different types of characters , from pure and perfectheroine, handsome and courageous actor, diversified stance suppor

17、ting role, mediated betweenhuman and animal characters , a few specific aspects of the role of the body shape of the auxiliarystrategies unfold .Fifth chapter of Hayao Miyazaki anime characters to explore the aestheticvalue of the body shape and enlightenment , I believe that the aesthetic value of

18、Hayao Miyazaki sanimation is mainly manifested in the following aspects , such as animism respected , female bodyand mind care , reflection on the natural environment , multidimensional human thinking, such asthe pursuit of the ultimate meaning . Hayao Miyazaki s anime character s body shape also te

19、llsus to be good to explore the nationalization of style and features , into moral and philosophical incharacter creation , a respected art itself . Miyazaki constantly looking at the world , look at our reality , Miyazaki and his work hasalways been clear mind , and this clear never as juvenile as

20、fragile , perishable , it has notdestroyed Caine appeal , creating a clear and profound humanism own world . For the study ofphysical beauty Miyazaki character , there is not much the researchers involved , I only work onthe basis of close reading , learning from some of the animation design , aesth

21、etics and otherdisciplines of knowledge starting body made plain exposition about the characters Miyazakifurther research is still needed to explain the body shape . Key words: Miyazaki , cartoon characters , body shaping 目 录 中文内容摘要 Abstract 绪论 研究背景 研究意义 研究现在状况 研究方式方法与研究思路 第一章 动漫人物与身体塑造 1.1 动漫人物的概念与

22、特点 1.1.1 动漫与动漫人物 1.1.2 动漫人物的典型性 1.1.3 动漫人物的视觉形象性 1.2 动漫人物的身体塑造 1.2.1 动漫人物的设计 1.2.2 动漫人物的身体要素 1.2.3 动漫人物的身体塑造方式 1.3 动漫人物身体塑造的意义 1.3.1 促成动漫产业发展 1.3.2 寄寓动漫人物表述现实 1.3.3 典型动漫人物引领传统教育 1.4 动漫人物身体塑造的手法 1.4.1 写实手法 1.4.2 虚构手法 1.4.3 写意方式方法 1.4.4 崇高化的手法 1.4.5 混合表示出和木偶手法 第二章 宫崎骏的动漫创作 2.1 宫崎骏的家庭背景及学生时代 2.2 创作历程 2

23、.3 宫崎骏作品创作背景 2.3.1 日本的神话与民俗文化的浸染 2.3.2 日本当今社会现实的浸透 第三章 宫崎骏动漫人物的身体塑造 3.1 宫崎骏动漫人物的主要类型 3.2 宫崎骏动漫中不同类型人物的身体塑造 3.2.1 纯真与完美女主角造型 3.2.2 英俊与果敢的男主角造型 3.2.3 介于人与动物之间的角色造型 3.2.4 角色身体造型中的辅助策略 第四章 宫崎骏动漫人物身体塑造的思想价值及启示 4.1 宫崎骏动漫人物身体塑造的美学价值 4.1.1 对万物有灵的推崇 4.1.2 对人类文明的反思 4.1.3 对多维人性的考虑 4.1.4 对女性的关心 4.1.5 对终极意义的追求 4.2 宫崎骏动漫人物身体塑造的启示 4.2.1 擅长开掘民族文化的风格与特色 4.2.2 在人物塑造中注入寓意与哲理 4.2.3 追溯求源尊重艺术 第五章 结论 以下为参考文献 致 谢