| In the development of China’s animation for nearly a hundred years,the "Chinese School" animation is undoubtedly the most important genre.This school has formed many high-quality animation works with distinctive national characteristics,diversified cultural themes,and diverse forms of expression.On the basis of our country’s classical culture and reference to Western art,it has formed an aesthetic characteristic that integrates originality,interest,and artistry.At present,the research on the "Chinese Animation School" mainly focuses on the analysis of specific individual animation categories or the combination and integration of some historical materials,while the "Chinese Animation School" is regarded as a whole,with its common artistic expressions,concepts,and the theoretical research on issues such as artistic innovation is slightly inadequate.In light of this fact,this dissertation is important and necessary in studying the common characteristics of various works of the "Chinese Animation School" from an aesthetic point of view.This research is based on the animated text produced by the Shanghai Fine Arts Film Studio in the 1950 s and 1980 s,and comprehensively interprets it through two levels of art and society.Based on this,the main body of the text is divided into five chapters.In the introduction,the background,methods and goals of the "Chinese Animation School" related research are explained.The first chapter is the discussion of related concepts,which explains that a type of art form can evolve into two necessary items of the "school" and the scope of application of the term "Chinese school".The theoretical model of film and television text interpretation is derived from the symbolic representation theory mentioned in Gillian Rose’s "Methods of Watching: How to Interpret Visual Materials(the third edition of the original book);the analysis basis for the context part is derived from Professor Susanne K.Langer’s "Symbolic aesthetics";the fifth edition of The Philosophy of Art by Hippolyte Adolphe Taine,a famous French literary theorist,provides a strong support for value analysis.Chapter Two elaborates on the overall situation of the "Chinese Animation School" in detail.The age division in the development process,combined with the quantification of charts,clearly analyzes the flow trend based on the three element values of animation theme,art style,and character modeling.The third chapter derives on the basis of the previous,which respects the hierarchical relationship of the chapters,starts from the art category,deconstructs and analyzes the relationship between animation aesthetics and art research objects,and finally summarizes the "Ingenuity,Interest and Artistry " at the aesthetic level of the "Chinese Animation School".The fourth chapter considers the artistic value of "Chinese Animation School" aesthetics through the three dimensions of importance,necessity and contemporariness,and analyzes the reasons for its artistic value formation.Chapter 5,which is the last part,is derived from the above four aspects of discussion.Based on the aesthetic characteristics of the "Chinese Animation School",it compares Chinese and foreign animations from the four dimensions of technology,specification,audience and business,and concludes the current problems and challenges faced by domestic animation films.In short,the "Chinese Animation School" has laid a good foundation for Chinese animation,has an inevitable influence on later generations of art creation,and provides a wealth of reference and practical aesthetic illustrations,concepts and contexts. |
