从“中国动画学派”到“新主流动画”——中国主流动画艺术流变与创作转向  

From“Chinese School of Animation”to“New Mainstream Animation”:The Artistic Evolution and Creative Turn of Mainstream Chinese Animation

作　　者：张一品 Zhang Yipin

机构地区：[1]浙江工业大学设计与建筑学院

出　　处：《艺术传播研究》2023年第4期80-91,共12页Journal of Art Communication

基　　金：教育部人文社会科学研究项目“中国当代独立动画创作及其艺术语言研究(2000—2020)”(编号:18YJC760134);中国动漫博物馆“2023年‘中国动漫百年百人’口述史抢救研发项目”成果。

摘　　要：历经百年的中国动画,从舶来艺术到发展出独特的民族艺术形态,既形成过向世界输出中国美学价值的民族动画品牌——“中国动画学派”,也丢失过民族特色,陷入过创作低谷。基于主流动画研究视角,回溯百年动画演进,可总结出中国动画所体现的“舶来性—民族化—民族品牌化”这一周期性成长规律,并可知在当前动画产业基础上形成的“新主流动画”既传承了文化事业语境下“中国动画学派”对民族化的探索,又在技术、艺术、观念上扩大了民族化的内涵和外延,正以新的姿态重返民族化之路,开启“民族化2.0”时代。Chinese animation has undergone a century of development.From importing art to developing unique ethnic art forms,the“Chinese School of Animation”has formed a national animation brand that exports Chinese aesthetic value to the world.It has also experienced a loss of national characteristics and fell into a creative trough.This article,based on the perspective of mainstream animation research,retraces the evolution of anima⁃tion over the past century and summarizes the cyclical growth pattern of“foreignization-nationalization-na⁃tional branding”that Chinese animation has gone through.It points out that the“new mainstream animation”e⁃merging from the foundation of the animation industry not only inherits the exploration of nationalization by the“Chinese School of Animation”within the context of cultural endeavors but also expands the connotation and ex⁃tension of nationalization in terms of technology,art and concepts.It returns to the path of nationalization with a new posture,ushering in the era of“nationalization 2.0”.

关 键 词：中国动画学派 新主流动画 民族化 民族动画品牌 

分 类 号：J954[艺术—电影电视艺术]