中国动画理论批判:形式主义、古典主义与体制艺术  

A Critical Examination of Chinese Animation Theory——A Case Study of“Chinese School of Animation”

作　　者：徐秀明[1] 葛红兵[2] 

机构地区：[1]杭州师范大学人文学院,浙江杭州311121 [2]上海大学中文系,上海200444

出　　处：《上海师范大学学报（哲学社会科学版）》2013年第6期109-117,共9页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

基　　金：国家社科基金青年项目"‘文化研究’视野下的中国动漫"(09CZW062)的阶段性成果;"浙江省之江青年社科学者行动计划"(T4-2);杭州师范大学科研项目"中国动漫文化研究"(2011QDW106)

摘　　要：中国动画自民国时期诞生伊始,就致力于民族艺术道路的探索追求。建国后,"中国动画学派"成功地将京剧、水墨画等独特的民族艺术形式融入"动画化"扬名世界,但也形成了"形式主义"为先的创作依赖症。此后,中国动画在主流意识形态的指挥棒下,长期奉行"古典主义","体制艺术"的色彩浓重:"文革"前后,政治宣传工具论影响极大;新时期以来,经济挂帅导致业内人士普遍急功近利,相对忽略了文化、艺术方面的积极建构。中国动画的未来发展之道,是制定相对独立且符合艺术规律的长远规划,寻求商业与艺术的完美融合。Chinese animation had been exploring its national artistic features since the early period of the Republic of China. After the founding of the PRC, ＂Chinese school of animation＂ succeeded in integrating such national art as Peking opera, Chinese ink painting into animation works and the results were outstanding. However, the creation mode of ＂formalism＂ was established. Since then, Chinese animation bad been influenced by the social mainstream ideology and had adhered to the creation principle of ＂classicism＂ for a long time, which was turned into a ＂system art＂. During the period of Culture Revolution, Chinese animation was greatly influenced by ideology. In the new historical period, with the prevalence of commercialism, the construction of art and culture is neglected. The healthy development of Chinese animation is to establish an independent, long-term plan and to integrate commerce with art.

关 键 词：中国动画 体制艺术 动画理论 “中国动画学派” 

分 类 号：J909[艺术—电影电视艺术]