Research Into Psychological Conversion Of Chinese Animation Audiences In The Media Convergence Era

This research is set against the background of media convergence.Combining animation theories with knowledge and research achievements of communication,audience psychology,and aesthetic psychology,the convergence between China's animation market phenomena and audience's psychological demands in the era of media convergence is explored from the perspective of audience psychology.In the era of media convergence,animation making,communication and acceptance have changed the orientation to audience demands.Employment of new media technology greatly satisfies audience demands.In this paper,correlation between the industrial development phenomena of China's animation in the current period and the audience' psychological demands is analyzed from three levels of convergence,namely “ media transformation ”,“ commutation mode ” and “audience acceptance”.Based on Maslow's hierarchy of needs,focus is on analyzing sensory,emotional and rational conversion.The acceptance psychology and aesthetic psychology mechanism of audiences is summarized.The convergence among animation technology,audience psychology and animation industry is explored.Causes behind transformation of China's animation industry are revealed.Additionally,problems existing in the transformation process are discussed.This paper consists of six chapters.Chapter 1 introduces the research topic,era background of this research,research significance and purpose.Besides,the research status of the field both at home and abroad is analyzed.Major concepts,such as media convergence,animation,animation audience,audience psychology and conversion,are defined.After that,research significance,methodology and path of this paper are pointed out.Chapter 2 plays a critical role in introducing the topic of audience ' s psychological conversion.To start with,changes of animation communication media brought by media convergence are expounded.Due to emergence convergence,the animation communication media is developing a pattern in which new media dominates,while old and new media compete and complementarily integrate with each other.Transformation of the media pattern directly leads to formation of an audience-oriented,audience-specific and sharing animation communication mode.Following conversion of the animation communication mode,audience ' psychological demands,motives,choices,understanding,responses and participatory mode are changed.Chapter 3 analyzes conversion of audience's emotional demands caused by changes of the audience acceptance mode from the perspective of the image,sound and sense.First,image characteristics,including “simulation”,“planarization” and “combination between virtuality and reality”,formed by media convergence and technological progress are pointed out.Second,advantages and disadvantages of auditory characteristics,including the “stimulating” sound effects,“star-oriented” dubbing,and “diversified” ground music,are discussed.Finally,causes behind transformation of “accelerating” animation rhythms,“liberalizing” shots and “experiential” senses are revealed.Chapter 4 expounds on conversion of the audience's emotional demands.First,popularity of “comic”,“healing” and “nostalgic” animations is explained.Second,causes behind prevalence of animation themes,including “campus”,“imagination” and “adult”,are analyzed.Third,shaping of “ugly” animation roles,diversification of role shaping and “life-oriented” role performance are pointed out.This chapter comes to the conclusion that audience ' s emotional demands have become increasingly entertaining,secular and human-oriented emotional.Chapter 5 puts forward the idea that popularity of popular science animations,foreign animations and animation sub-culture reflects “thirst for knowledge” among Chinese animation audiences.The cross-media narration,non-linear narration,and interactive narration can satiate audiences' longing for a freer aesthetic ideal.At the end of this chapter,the phenomenon of audiences participating in comments,games and creation of animations is analyzed,uncovering a strong demand for “subjectivity” among audiences' rational demands.Chapter 6 summarizes the theoretical basis,narration structure,and research content of this paper.Meanwhile,the author looks into the prospects of China's animation development.