【作者】 李婕；

【导师】 胡维平；

【作者基本信息】 昆明理工大学 ， 设计学， 2014， 硕士

【摘要】 一部优秀的动画作品的产生离不开很多因素的支撑,比如好的剧本、好的人设、场设、熟练地剪辑和特效的制作、优秀的配音和分镜头脚本的设计。在一部动画剧本创作完成之后,导演就会开始着手分镜头脚本的设计,分镜头脚本的设计会直接影响和制约着后面其他因素的发展。分镜头脚本是动画剧本的图画式语言的表达方式,简单地说,就是运用图片的方法讲述剧本故事,直接把剧本镜头形象化。它是动画里可以直接传达导演意图和剧本拍摄构思的一种语言,人物、场景的设计、逐帧的制作、后期的剪辑、配音等工作都是根据分镜头脚本来的。因此,我们可以称分镜头脚本为动画作品的预设和蓝本,它在动画作品的创作中扮演着重要的位置。而创作一个优秀的动画分镜头脚本需要理解分镜头作为动画视听语言背后的语义、文化溯源、创作法则、内在逻辑等多方面的内容。因此,本文从分镜头脚本与动画创作之间的关系入手,对其表达方式、民族审美需求、创作技法进行一一论述。首先,本文对动画分镜头语言的文化溯源进行了归纳和总结。在研究分镜头脚本时,笔者发现分镜头语言特点与其所处在的地域文化形态有着很大的关系。不同国家的分镜头脚本语言呈现出不同的风格特点,它们受到所处的社会环境、风俗习惯、审美倾向的影响。换个角度来说,不同地区的分镜头语言可以体现出当地的文化溯源。例如,中国动画在上个世纪八十年代时,创立了辉煌的“中国学派”,创作出一批优秀的艺术动画片,其分镜头语言也体现着中国传统绘画中写意的特点和中国人含蓄的审美倾向。然而现在,中国的动画开始走下坡路,分镜头语言也开始“失语”,逐渐丧失了中国本土特色,大量抄袭外国动画的镜头语言,失去了自己的特点。本文通过对比不同国家的镜头语言和其背后的文化特征之间的关系,试图帮助中国动画找回自己的镜头语言。其次,本文对动画分镜头脚本的创作技法和镜头内在逻辑进行了详细的说明。动画是一种具有高度假定性和自由的文化传播方式,其分镜头的设计所受到的现实制约比电影少。但是,动画分镜头脚本的创作还是要遵循视听语言的客观规律。其表现手法、创作技法、画面逻辑、轴线和蒙太奇的运用都有一定的法则,这些法则会在文中一一阐述。笔者认为,只有既遵守了这些创作法则,又充分发挥了主观想象力进行创新,才可以创作出好的分镜头脚本。最后,本文将对分镜头语言的未来走向提出展望,分镜头语言特点将随着科技的进步、社会的发展、文化形态的衍变、和人类审美倾向的改变而发生变化。而这种变化是良性的,将会推动分镜头的发展,从而推动动画产业的进步。更多还原

【Abstract】 An excellent animation cannot be produced without the support of many aspects, for example, the well-written script, reasonable characters, nicely designed scenes, skilled cutting with special effects, fine dub in as well as cinematic storyboarding. After finish producing a script of an animation, the director will start his hand to the design of cinematic storyboarding, which would directly effect and restrict the development of its following aspects. Cinematic storyboarding is the written language for the pictures in scripts, simply speaking, it is using the pictures to tell whole story, visualizing all lens in the script. It is a kind of language to immediately transform the intention of director and concept for shooting, among which the characters, design of scenes, frame by frame picturing, cutting and dubbing are all settled according to cinematic storyboarding. Thus cinematic storyboarding is playing a vital part of creating a success work, which can be called the preinstall and blue print for an animation. However, to create a fine work of cinematic storyboard is in need of a deep understanding that the cinematic is as the background of semantics, historic culture, law of creation, inner logic for the animation. This essay thus set from the relationships between cinematic storyboarding and creating of an animation to discuss their expression, visual appreciation under certain culture and various techniques for creation.At first, this essay concludes about the historical culture of cinematic storyboarding. During the research in storyboarding, I found that language features are greatly related to its regional culture. Storyboarding from different countries are presenting largely diversed language styles, which hugely effected by their social environment, local customs and aesthetic tendencies. Put another way, storyboarding in various regions are representing their cultural trace locally. For instance, Chinese animation created its splendid "Chinese School" in the late80s last century, and produced a batch of excellent works, their storyboarding also presenting a freehand tradition in Chinese culture as well as the intrapersonal aesthetic tendency, but for now, the animation industry has been go down for a long while, storyboarding has being losing its language, the local feature is being destroyed by copying foreign animation and lost their own character. The essay will try to retrieve the storyboarding language for Chinese animation through the comparison on storyboard of different countries and the cultural charisma behind their languages.Secondly, the essay particularly illustrates the creative techniques and inner logic of storyboarding in animation. Animation as a highly hypothetical cultural media, the restrictions of animation are less then films in storyboarding. Yet still the creation of storyboarding need to act up to the subjective principle of audio-visual language. There are certain laws for application of expression techniques, frame logic, axis and montage, these techniques will be discussed in the essay. As long as following the rules of creation, utilizing imagination, an outstanding work of storyboarding shall be produced.At last, the article proposed to look forward into the future of cinematic storyboarding. The features of storyboarding will go on progressing with the development of society and technology, with the change of culture and human aesthetics tendency, moreover, the change is optimum and would propel the storyboarding as well as animation industry.更多还原