以配音表演驱动角色设计:动画电影《哪吒之魔童闹海》角色塑造的艺术真实与制作流程  

Character design driven by voice acting:Artistic reality and production process of Ne Zha 2

作　　者：刘丽 LIU Li(Sichuan Film and Television University;Academy of Film,Macao University of Science and Technology)

机构地区：[1]四川电影电视学院,四川成都610036 [2]澳门科技大学电影学院,中国澳门999078

出　　处：《现代电影技术》2025年第2期12-17,31,共7页Advanced Motion Picture Technology

基　　金：2024年四川省高等学校人文社会科学重点研究基地巴蜀文化国际传播研究中心“创新扩散理论视角下巴蜀文化传播的海外社交网络分析”(2024YB23)。

摘　　要：近年来,国产动画电影在内容创作、制作技术以及工业化流程等方面取得了显著进步,逐渐崛起为全球动画电影产业的重要力量。为深入探讨配音表演在动画电影角色塑造中的作用机制与工作流程,为国产动画电影的进一步发展提供有益借鉴与参考,本文结合媒体对国产动画电影《哪吒之魔童闹海》导演、配音导演和配音演员的采访内容,系统分析了该片如何以配音表演驱动角色塑造,详细剖析了其背后的艺术创作理念与制作流程。研究表明,《哪吒之魔童闹海》采用“先配音后动画”流程,将配音环节从传统后期制作流程前置为角色塑造的核心,有力推动了国产动画电影在角色制作与配音表演方面的革新,重构了角色生命力的生成逻辑,为中国动画电影工业化进程树立了新的标杆。In recent years,Chinese animated films have made remarkable progress in content creation,production technologies,and industrialized pipelines,emerging as a pivotal force in the global animation industry.To investigate the mechanisms and workflows through which voice acting shapes animated characters and provide actionable insights for further development of domestic animated films,this study systematically analyzes the animated feature Ne Zha 2 by synthesizing media interviews with its director,voice director,and voice actors.The research delves into how the film leverages voice performance to drive character portrayal,dissecting its artistic philosophy and production workflow.Findings demonstrate that Chinese animated film's adoption of voicefirst production pipeline,therefore shifting voice recording from traditional postproduction to a preanimation core phase,has catalyzed innovations in character design and vocal performance.This methodology redefines the generative logic of character vitality,and establishes a new benchmark for the industrialization of Chinese animation.

关 键 词：配音表演 动画角色设计 国产动画电影 哪吒之魔童闹海 先配音后动画 

分 类 号：J91[艺术—电影电视艺术]