具体描述
本书为动画专业的概论类书籍，涉及动画的起源、历史、定义讨论、类型划分和初阶创作指导，兼顾深度与广度。本书共4章，包括结语合后记等内容，试图探索理解动画的合理化、客观化、学院化的新视角，打开读者们的思路，让他们对动画有新的认识。本书对动画的定义、分类、历史、产业、实验、制作流程及创意等多方面均有深入浅出的论述，为读者充分拓宽了视野，呈现出动画的多样性与复杂性。本书既叙述动画的发展历史，又直面当下动画行业的国际与国内现状。本书可以作为高等院校动画或相关专业的“动画概论”及相关课程的教材，也可供相关专业的研究生、教师以及广大动画爱好者参考。
作者简介
刘书亮，男，1987年生人，中国传媒大学动画与数字艺术学院2014级动画艺术学博士生，师从动院院长黄心渊教授。独立动画人，青年学者，动画学术趴创始人。
目录信息
第1章动画的定义·································································1
1.1 从“运动”说起························································2
1.2 似动知觉：动态影像的根本原理 ···························9
1.3 动画：呈现非记录性运动的动态影像媒介 ·········· 11
1.4 转描影像：动画与实拍的“联姻”产物 ··············15
1.5 动画与实拍的“化合物”和“混合物” ··············21
第2章二维动画、三维动画和定格动画 ···························27
2.1 动画的诞生·······························································28
2.2 早期二维动画的发展···············································33
2.3 定格动画及其发展历程···········································41
2.4 皮克斯诞生史和三维计算机动画的崛起 ··············47
2.5 二维动画的危机·······················································52
第3章主流动画和非主流动画············································ 59
3.1 迪士尼的动画产业帝国 ·········································· 60
3.2 中国动画的历史简述和主流动画行业的现实境况 ·········································· 62
3.3 实验动画的意义······················································· 69
3.4 传统艺术语境与当代艺术语境下的动画影像······ 87
第4章动画创作概述···························································· 99
4.1 动画的制作流程简述 ·············································· 100
4.2 生活 vs幻想：创作前的思考································ 107
4.3 动画的运动规律和风格 ···································115
结语：以动画为生········································121
后记············································· 129
参考文献·········································131
· · · · · · (收起)
1.1 从“运动”说起························································2
1.2 似动知觉：动态影像的根本原理 ···························9
1.3 动画：呈现非记录性运动的动态影像媒介 ·········· 11
1.4 转描影像：动画与实拍的“联姻”产物 ··············15
1.5 动画与实拍的“化合物”和“混合物” ··············21
第2章二维动画、三维动画和定格动画 ···························27
2.1 动画的诞生·······························································28
2.2 早期二维动画的发展···············································33
2.3 定格动画及其发展历程···········································41
2.4 皮克斯诞生史和三维计算机动画的崛起 ··············47
2.5 二维动画的危机·······················································52
第3章主流动画和非主流动画············································ 59
3.1 迪士尼的动画产业帝国 ·········································· 60
3.2 中国动画的历史简述和主流动画行业的现实境况 ·········································· 62
3.3 实验动画的意义······················································· 69
3.4 传统艺术语境与当代艺术语境下的动画影像······ 87
第4章动画创作概述···························································· 99
4.1 动画的制作流程简述 ·············································· 100
4.2 生活 vs幻想：创作前的思考································ 107
4.3 动画的运动规律和风格 ···································115
结语：以动画为生········································121
后记············································· 129
参考文献·········································131
· · · · · · (收起)
读后感
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用户评价
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平易近人的书。
评分现在谈动画还是有不少是套电影的视听语言的，这也是那么多动画没劲的原因之一，野草加油
评分野草老师的书。 怎么说呢，内容没问题，定价比较高，以及排版实在让人。。。 3.5
评分两个小时读完了，知道了主流动画还是要研究电影那一套，得去学电影理论了。
评分以前把图书馆能找到的动画概论都读了一遍，除了聂欣如写的那本以外，最喜欢的就是这本了。论知识点的涵盖这本书显然单薄了，但是挖掘得够深，在对二三维动画的比较上作者也有自己的观点，可看性挺足的。野草师哥果然是搞学术的好手，希望以后看到作者更多专著
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