【作者】 王楠；

【导师】 张志宇；

【作者基本信息】 东北大学 ， 艺术学理论， 2023， 硕士

【摘要】 动画产业作为文化内容创意类产业的组成部分,其在国家间的贸易行为不仅为各国带来经济收益,更是提升国家文化软实力的重要途径。中国动画产业化起步较晚,虽然自2004年,政策红利和技术进步推动了中国动画产业的快速发展,但就动画产品出口而言,与动画发达国家日本仍有一定差距,尤其是在动画内容的策划编写上,对中国文化及意识形态的传播影响力尚小。本文以中国对日出口的动画产品为主要研究对象,根据动画贸易“梯级循环”模型的各阶段范式表征,阐述了模型下的中日动画贸易特点。但由于中日两国的文化意识形态差异较大,因此在论述中对该模型进行了调整与拓展。文章以中国动画产业发展历程为脉络,在分析国内外相关研究数据的基础上,将中国动画对日出口的发展历程分为“中国学派”文化交流、动画代工、中日联合制作和整片输出四个发展阶段,即从单方面受日本动画文化的影响,到开始模仿日本动画企划、扩宽青少和成人市场,再到动画作品加入的中国文化被日本观众接受,最后到作品里中国文化的完整输出,并对每一个阶段的动画产业出口模式和动画内容蕴含的中国文化及意识形态的传播影响力作以论述。本文结合当下中国动画出口面临的问题,提出了回归动画艺术本质的对日出口策略:以中国审美为标准的“二次元”文化自信、动画内容与设计的多元化发展、融入艺术与民族特色的动画技术、加强周边衍生品及渠道铺设的IP战略,带动中国动画全产业链发展。中国动画需立足本国自有文化进行创作,并将本国文化传播出去,是动画作为文化载体的使命,是中国动画走向“中高梯级”生态位的标志,对中国“文化软实力”的提升和“中国梦”的伟大实现具有积极的现实意义。更多还原

【Abstract】 The animation industry,as a component of cultural content and creative industry,not only brings economic benefits to countries through its trade,but also serves as an important way to enhance national cultural power.The industrialization of Chinese animation started relatively late.Although policy dividends and technological progress have accelerated the development of Chinese animation industry since 2004,there is still a certain gap in terms of animation product exports compared to Japan which is a developed animation country.Particularly in the planning and writing of animation content,there is still a low influence on the dissemination of Chinese culture and ideology.This article takes the animation products exported from China to Japan as the main research objects and elaborates.According to the paradigm representation of the ’Rundle Circulate’ model,the paper expounds the characteristics of Chinese-Japanese animation trade under the model.However,due to the significant cultural and ideological differences between China and Japan,the model has been adjusted and expanded in this discussion.Taking the development course of Chinese animation industry as the context,based on the relevant research data at home and abroad,this thesis divides the development process of Chinese animation export to Japan into four development stages:’Chinese school’ cultural exchange,animation outsourcing,Chinese-Japanese co-production and whole film output.These are being unilaterally influenced by the Japanese animation culture,imitating the strategic planning of Japanese animation enterprises and expanding the youth and adult markets,the Chinese culture which was added into the animation works being accepted by Japanese audiences,and the Chinese culture in the works being fully exported.Meanwhile,it discusses the export mode of animation industry at each stage and the communication influence of Chinese culture in the content of animation.Finally,combined with the current problems facing Chinese animation export,this dissertation puts forward the export strategy of returning to the essence of animation art.Taking the ’two-dimension’ cultural confidence,and the diversified development of animation content and design as the starting point,utillizing the animation technology integrating art and national characteristics,strengthening the IP strategy of surrounding derivatives and channel laying as the main operation mode,thus driving the development of the whole industrial chain of Chinese animation.Chinese animation should be created based on its own culture.To spread the national culture is the mission of animation as a cultural carrier,and it is a sign that Chinese animation is moving towards the ’middle and high echelon’ ecological niche.It has positive practical significance to the promotion of Chinese ’cultural power’ and the great realization of the ’Chinese Dream’.更多还原