【作者】 李娟；

【导师】 汪涤；

【作者基本信息】 华东师范大学 ， 美术学， 2015， 硕士

【摘要】 “美术片”是中国国产动画特有的动画样式。20世纪50-60年代是国产“美术片”发展的重要阶段,为数众多的画家在这一时期参与到“美术片”的创作中,给国产“美术片”带来了丰富的美术形式、浓郁的民族特色与深厚的文化价值,并长期影响了我国国产动画的创作模式。本文以上海美术电影制片厂画家创作群体为研究对象,从历史脉络出发,对20世纪50-60年代的国产美术片进行探究。论文一方面从探析“美术片”的概念入手,分析国产“美术片”在不断吸收中国民族传统艺术元素下,不断形成的其特有的动画表现形式。另一方面,对20世纪50-60年代参与到上海美术电影制片厂进行国产“美术片”创作的画家群体进行教育背景分析梳理,可以窥探出画家参与“美术片”创作的原因。同时,结合这一时期的画家们参与到国产“美术片”创作后产生的正反影响,引发对当下国产动画发展现状的深思。更多还原

【Abstract】 "Art film" is a unique style of Chinese domestic animation. It was an important development period for domestic "art film" in twentieth century 50-60’s, a large numbers of painting artists to participated in the "art film" creation, which brought the wealthy art forms and strong national features and profound cultural value for Chinese domestic "art film", and they made a large effect on Chinese domestic animation creation mode in a long-term. This thesis takes Shanghai art film studio painter groups as the research object, from the perspective of history, to explore domestic art film’s value in twentieth century 50-60’s. One hand, this thesis try to explore the concept of "art film" as a start, and analysis the special forms of "art film" while they absorbing China traditional art elements continuously. On the other hand, to analysis their educational background of painter groups that participated in the creation of "art film" in twentieth century 50-60’s, can find out the reason of painter groups to joined domestic "art film" creation. At the same time, it made a positive and negative effects after the painter groups participated in domestic "art film" creation, that we can make a cogitate for the present situation of current domestic animation development.更多还原