毕业论文独创性声明

毕业论文独创性声明（共6篇）

篇1：毕业论文独创性声明

毕业论文独创性声明

本人所呈交的毕业论文是在指导教师指导下进行的工作及取得的成果。除文中已经注明引用的内容外，本论文不包含其他个人已经发表或撰写过的研究成果。对本文的研究做出重要贡献的个人和集体，均已在文中作了明确说明并表示谢意。

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毕业论文使用授权声明

本人完全了解上海对外贸易学院有关保留、使用毕业论文的规定，学校有权保留毕业论文并向国家主管部门或其指定机构送交论文的电子版和纸质版。有权将毕业论文用于非赢利目的的少量复制并允许论文进入学校图书馆被查阅。有权将毕业论文的内容编入有关数据库进行检索。有权将毕业论文的标题和摘要汇编出版。

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日期：

篇2：毕业论文独创性声明

本人郑重声明：所呈交毕业论文，是本人在指导教师的指导下，独立进行研究工作所取得的成果。除文中已经注明引用的内容外，本论文不包含任何其他人或集体已经发表或撰写过的作品成果。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律结果由本人承担。

Xxx

2011年3月13日

摘要

随着生着生产力的大发展及国际分工进一步深化,世界产业结构发生了较大的调整,服务业逐渐成为世界经济结构的重心,也成为各国经济增长的主要动力。伴随着经济全球化进程加快,国与国之间依赖加强，贸易往来密切，当今国际服务贸易迅猛增长,日益成为国际贸易的主要对象和内容,由此导致服务贸易在国际贸易中的地位不断上升,亦成为一个国家或地区经济的国际竞争力的重要标志。在服务业中,生产者服务作为服务业和制造业的粘合剂 ,成为先进工业化国家后期工业化的重要特征。中国作为发展中国家,制造业发展迅速,但服务水平较低,服务贸易存在大量的逆差,尤其在高新技术含量和知识含量高的生产者服务贸易上与发达国家差距显著,缺乏国际竞争力,成为产业价值链中较薄弱的环节,直接影响和制约着中国在经济全球化中的国际分工格局与利益分配。基于对中国生产着服务贸易研究,结合相关理论，本文引用实证描述了中国生产者服务贸易的发展现状，接着通过对一些实际数据进行深入分析，提出了我国生产性行业所存在的问题,并针对性的给出了政策建议.【关键词】生产者 服务贸易 进出口结构 现状 对策

Abstract

篇3：毕业论文独创性声明

The notion of'originality'means that the researchers contribute something new that will move the field of research forward.It is an essential feature of all types of academic writing according to the culture and conventions of English academic writing.According to Gilbert and Mulkay,any academic text must exhibit both sameness,which presents some connection between this study and the previous ones,and difference,which presents some element of novelty that the current study possesses(as cited in Bloch&Chi,1996).And the sameness and the difference will be accomplished mainly through the use of references,especially in the sections of introduction,literature review and the discussion of the findings.

Although in different types of research articles,the degrees of'originality'may be different,and the readers'expectations of the degrees of originality may vary depending on the type of academic writing,it does not mean that originality should be omitted in any academic writing,including undergraduates'degree paper.

As a matter of fact,originality is clearly required in undergraduate English majors'degree paper writing according to Curriculum to English Majors in Higher Education("Curriculum"in the following)(2000)edited by Ministry of Education in China.It is pointed out as follows:

"English majors'Graduation Paper should be written in English,in length of 3000-5000 words.It should be coherent,well-organized,meaningful,and contain certain original ideas.In assessing graduation paper,teachers should give importance to originality and creativity besides considering students'language proficiency"(2000,p.14,as cited in Liu,2010,p.80-81).

Although the"Curriculum"has claimed that originality is required and should be assessed,it has not provided the students with further explicit instructions about how to highlight originality in graduation paper writing.

Actually,throughout the research paper writing,originality can be shown in the section of introduction,literature review,methodology,and/or discussion of findings.However,if the writer does not highlight the originality to the readers in an appropriate way,the readers probably will not notice the originality,no matter how'original'the writer's ideas might be.

Writing involves an interaction between the writer and the readers in terms of the rhetorical approach to writing(Chandrasegaran&.Schaetzel,2004).And the writer always needs to keep the readers in mind during the process of writing.From this point of view,highlighting originality in academic writing is essential in promoting the writer's idea and attracting the potential readers(Hylland,2000a).

However,in practice,our undergraduate writers may find it difficult in using their language to highlight originality in their degree paper.And similar research has seldom been done so far in the field of the undergraduate English majors'degree paper writing in China(Liu,2010).Therefore,it is meaningful for me to focus my research on the undergraduate English majors'difficulties in highlighting originality in their degree paper writing.

2 Methods

The research questions of this paper are translated as below.

1)What do the student writers and their supervisors perceive as the difficulties in highlighting originality in the undergraduate English majors'degree paper writing?

2)What are the major causes of these difficulties?

In order to get the generalisability,20 degree paper writers were randomly selected among almost 200 senior English majors in the English Department,the College of Foreign Languages,China Three Gorges University(CTGU).In-depth interviews with both the20 randomly chosen student writers and 10 of their supervisors were conducted.

Questions used in the semi-structured interviews are listed below.

1)Do you consider originality as an important issue in degree paper writing?

2)Where do you think originality may,can or should be shown throughout the degree paper?

3)How do you understand the significance of highlighting originality in degree paper writing?

4)What do you perceive as the difficulties in achieving and highlighting originality?During your writing(or supervising)of the degree paper,do you(or your student)have difficulties in:understanding the function and organization of each section in English research paper?In understanding the function of the move of establishing a niche in highlighting the originality of the writing?In understanding the function of each optional step in the move of'establishing a niche':reviewing and evaluating previous research,counter-claiming;indicating a gap,and raising a question?Or just have difficulties in word choice,such as:not being able to use linguistic exponents to signal the gap/niche?Are there any other difficulties that you(or your student)have encountered?

5)What are the possible reasons of the difficulties in highlighting originality:the students'lack of specialized knowledge in the field of study?Their lack of academic literacy?Lack of linguistic proficiency?Or due to the not clear instructions from the teacher,university or the government?Or just lacking courage,being afraid to bear the responsibility may be one of the reasons to explain why some students have failed in establishing a niche,therefore losing the opportunity to highlight the originality in their works?

After the interviews,I sorted out the patterns of those typical difficulties that the interviewees had identified.And then,by relating to the teaching and learning context from a socio-cultural dimension,I located the causes of those difficulties.

3 Problems and Causes

The interviews reflect a commonly held view among the students and teachers that highlighting originality is probably beyond the undergraduate English majors'capability.Most students,including those linguistically proficient students,find it difficult to highlight originality in their articles.Generally speaking,the students have difficulties in the following three aspects:

1)establishing one's own research gap(thus having no originality at all);

2)deciding where in the research article to highlight originality;

3)using proper academic language to highlight originality.

From a socio-cultural dimension,the students'failure in highlighting originality may be caused by the Oriental literacy tradition they share:being used to following the prior rather than to challenging them(Liu,2010).

Hyland has summarized some more researchers'opinions and points out that L2 learners commonly lack the corresponding"cultural resources"to succeed in writing,especially when a critical appraisal of the texts should be conducted(e.g.Cope&Kalantzis,1993;Hammond and Macken-Horarik,1999;and Hasan,1996,as cited in Hyland,2003,pp.19-20).Similarly,Chandrasegaran(2001)also argues that"an East Asian literacy tradition that views scholarship as the'preservation of precedent'or'prior wisdom'"may be the cause of the Singaporean postgraduates'inability to perform argumentation moves in discussion of their dissertation writing(p.11).What's more,Hyland(2003)also points out that if the students can not access to the Anglo-American culture,they have to"draw on the discourse of their own cultures",which may lead to their failure in writing(p.20).All this helps us to understand why culture differences may cause the Chinese students'failure in highlighting originality in their research articles.

4 Pedagogical Implications

Since cultural differences may cause students'failure in highlighting originality,the cultural and conventions of English academic writing should be introduced to our Chinese student writers,which,as proposed by many researchers that is essential to L2 students'success in academic writing(e.g.Chandrasegaran,2001;Hyland,2003).Liu(2011)even has proposed for her Senior English major students a course curriculum of English Research Paper Writing containing the contents of the culture and conventions of English academic writing.

In the following part,academic literacy education at both a macro and a micro level will be elaborated in details.

4.1 Literacy education at a macro level

4.1.1 Purpose

Literacy education at the macro level in the context of this study aims at better socializing the undergraduate English majors into the Anglo-American academic discourse community.Drawn on the"ESP genre approach",the process of student writers working under the guidance of an experienced member of the discourse community(usually the supervisor)to learn the specific conventions of that community,has been generalized by Woodward-Kron(2004)and many other researchers as the metaphor of"apprenticeship",the result of which may be that students eventually"become fully-fledged members of the discourse community"(p.141).

However,the findings in the present study suggest that the Chinese undergraduates are still far from being socialized into the Anglo-American academic discourse community.As discussed above,since they can not access to the target discourse community,they have to draw on the discourse of their own community to write English Graduation Paper,and thus the problem may occur.Therefore,in literacy education at the macro level,emphasis should be given to students'global understanding of the Anglo-American academic discourse community.

4.1.2 Main contents

Since the"ESP genre approach"sees genres as rhetorical choices that the writers make responding to repeated contexts(Hyland,2003),how language works in the specific social context(s)to achieve specific purpose(s)should be explained explicitly to the student writers.

As a top priority in literacy education at this level,I suggest that the basic concepts of"discourse community"and"community conventions"should be first introduced to the Chinese undergraduates.In practice,Clark(1992),Bizzell(1992,as cited in Woodward-Kron,2004)and Hyland's(2000b)points of view on"community"and"conventions"can all be borrowed.As Clark(1992)points out,the notion of discourse community implies that"there is a set of shared values and beliefs,of discoursal conventions"(p.118).Bizzell(1992)puts the same meaning in another way.He claims that members in the same discourse community"share certain language use practices,canonical knowledge and approaches to interpreting experience"(as cited in Woodward-Kron,2004,p.141).Hyland(2000b)also argues that in academic discourse community,certain"community agreement"exists in terms of"culturally-influenced practical actions and matters",such as what is regarded as"substantiated truth","useful contribution","valid argument"and how to"maintain the authority of their discipline",…etc.(p.11).When relating to the present study,we can explain to the students that the purpose of introduction and the three necessary moves in introduction are just examples of this kind of"community agreement"that have already been set by the prior researchers and that any newcomers to the community should learn about.Only when the students are clear about these basic concepts,can they comprehend the further instructions on culture and conventions of the English academic discourse community in the future.

However,literacy education at the macro level should not only include giving clear explanation of the genre theory and systematic instruction on the culture and conventions of English academic writing to the students,but also,it should provide the students with opportunities to learn and try on the peculiar ways of thinking and writing,which characterize the Anglo-American academic discourse community.Only through constant practice,will the students eventually be able to apply the schema they have learned to their English Degree Paper writing.

4.2 Literacy education at a micro level

4.2.1 Purpose

Literacy education at the micro level aims at teaching students how to use proper cultural and linguistic resources to highlight originality in research paper writing.As revealed in Liu's(2010)study,the students do not know the three necessary moves that should be made in introduction,and/or can not use appropriate language to make the right moves,which may lead to their failure in highlighting originality.Therefore,scaffolding at a micro level should be provided to the students towards their proper use of cultural and linguistic resources in research paper writing.

4.2.2 Main contents

Conventions that have already been set by the prior researchers on English research paper writing should be taught explicitly to the students.For instance,up to now,a lot more about making moves in introduction has been known due to lots of genre theorists'efforts–some have identified typical move models/structures/sequences in introduction(e.g.Swales,1990;Bunton,2002;Paltridge&Starfield,2007;and Samraj,2008);some have offered lists of linguistic devices which can help to make the right moves in introduction(Swales,1990;Hyland,2005&2008);and some have found the ways to establish an appropriate authorial self,which can highlight the authorial decisions in introduction,thus can also help to highlight originality in research paper writing(Hyland,2000b;2003;2005;2008).All these knowledge on culture and language can be employed for the literacy education at the micro level to the Chinese undergraduates.

The understanding of the conventions is relatively easier to the students while learning to use the proper language needs more training and practice.Therefore,in literacy education at this level,emphasis should be given to students'learning to use the proper linguistic resources.

In selecting pedagogical content knowledge of linguistic resources to be taught at this level,we can borrow,for instance,Swales'(1990)findings on how RA writers use specific linguistic and discoursal resources to fulfill the three necessary rhetorical moves in introduction,and Hyland's(2001,2002,2005,2008)studies on self-mention words.Based on the corpus of RA(research article)texts,Swales(1990)offers three lists of linguistic devices which can be used to fulfill the three moves respectively,namely,"linguistic exponents/signals of centrality claims"(p.144),"linguistic exponents of establishing a niche"(pp.155-157),and"deictic references to the present text"(pp.159-160).Examples and explanations on the functions of these linguistic features have been provided in details.All this helps students to highlight originality in their research paper writing

What's more,it is absolutely necessary to include and highlight the appropriate use of self-mention words in literacy education at this micro level.Hyland(2005)points out that the proper use of the self-mention words,such as"I","we","me","my","our","mine","us","the author","the author's","the writer",and"the writer's",can help the writers to"present decisions"(p.89),therefore can also help the writers to highlight orignality where the writers'decisions have to be clearly demonstrated.

In practice,not only appropriate and adequate content knowledge but also necessary opportunities to analyze the language should be provided to the students.That is to say,not only details of the linguistic features including their meanings,their functions and their appropriate use should be instructed explicitly to the students;more importantly,opportunities for the students to learn to incorporate these features into their writing should be provided.To achieve this,model texts of RA introduction containing the target linguistic devices can be offered to the students so that they will have the opportunities to deconstruct and analyze the language;peer review on the students'actual language use in writing should be encouraged;and teacher-student joint negotiation and construction of meaning can also be employed.Only through various ways of practice,can the students eventually learn to use the linguistic features proficiently to highlight originality in their degree paper writing.

5 Conclusion

篇4：毕业创作类动画的原创性研究

关键词：毕业创作;动画;原创性

动漫作为文化产业的构成部分，以其独特的优势，新颖的特点，广大的受众，迅速在各个城市体现价值，许多地方政府把动漫产业作为城市经济新的增长点。随着我国动画事业的快速发展，高质量的动画人才需求也随之扩大。与此同时，随着国家对动画产业的大力扶持与宣传，动画专业高等教育的热潮随之兴起，高质量动画人才的需求也随之扩大。高校是培养动画人才的主要途径，不仅仅是艺术专业院校，甚至很多理工类综合大学都纷纷开设动漫专业进行招生，大量动漫从业者涌入社会，各种机会，挑战应运而生。但同时动画专业也是我国目前既热门又不成熟的一个专业，动漫市场的虚火与杂乱为目前主要表现特征，从业者面临更多困境，学业和就业脱轨。因此，如何进一步完善高校动画教育已成为当前各级院校的一个热门话题。

高校动漫专业大学生是中国动漫市场未来的主力军，担当着振兴中国动画的艰巨任务，纵观这几年中国各大高校毕业创作类动画片，在日韩，欧美动画文化的强烈攻势和影响下，动画的品质，风格都呈现出百花齐放的特色，毕业动画影片想法独特新颖，表现手法大胆多样，给动漫市场注入了新鲜血液，但是一部从剧本-角色-场景-音乐-寓意都比较完整的动画片是少之又少，很多动画片在某部分有可取之处，但是在其他地方有明显不足和遗憾，特别在原创性方面存在很多不足，给观众一种似成相识的感觉，本文拟从剧本创作、角色设定、影片风格原创三个方面进行剖析。

一、动画剧本的原创性研究

回顾我国动画的历史，大约始于1926年上海“万氏兄弟”拍摄的中国第一部无声动画短片《大闹画室》。这部动画短片指出了中国动画的创作发展方向，其认为国产动画应善于借鉴与取舍，以中国的传统文化为基础创作动画片，走中国动画特有的道路。提倡创作中国式的幽默剧情，认为民族文化就是取之不尽、用之不竭的源泉。这种理念和我们当下提倡的“民族的就是世界的”理论如出一辙。中国动画的起步可以说与世界接轨的，经过不断的探索，在創作质量上与当时迪斯尼公司动画产品没有多少差距。20世纪50年代初，国内就设有动画专业院校，但由于历史原因，并没有发展起来，仅限于小范围的研究。文化大革命期间，百业凋零，动画几乎处于停滞状态，进入80年代以后，动画产业化和动画教育更无从谈起。虽然原因是多方面的，但有一点是可以肯定的，中国的动画没有形成继承和发展的优良传统，这是其主要根源。直到上个世纪末，由于经济的快速发展为中国动画提供了肥沃的土壤，中国动画教育在各个艺术院校迅速发展起来。同时，国际化的市场竞争，也给国产动画片带来机遇和挑战。日本，美国动画深挖中国传统，从中国古代民间传奇、神话故事，民族精神等传统土壤中吸取营养，拍出了《三国志》《花木兰》《功夫熊猫》等经典的动画作品。面对这样的情况，我们需要反思，怎样把握住本土原创动画与创新这一命题，这将成为当下动画人肩负的重任。这些年，很多毕业动画作品很重视技术应用，或者片面追求风格，拍出了很多炫技的动画作品，或者拍出了很多悬疑、惊恐的动画作品，这些作品往往具有热闹的画面，夸张的色彩，澎湃的音乐，然而观看完让观众不知所云，一头雾水。忽略了作为一部电影导演，就是通过一定方式把故事讲给观众听，如果大部分观众在一派繁华之后，完全不理解影片的意义，很难评价这样的影片是一部优秀的作品。

中国有五千年璀璨的历史文化，先辈们给我们留下了丰富的文化遗产，像《小蝌蚪找妈妈》《山水情》等优秀动画片莫不是深挖民族语言，将我们博大精神的传统文化用动画方式表达，寓意了一定的人生哲理。毕业动画片创作和电影不同，最大的区别之一就在于毕业动画片时间非常紧凑，往往都是5分钟左右，要在这么短暂的时间里面把故事讲明白，使情节环环相扣，也考验着大学生导演的智慧和能力，艺术来源于生活又高于生活，生活中到处都有感动我们的情景，所以大学生要有丰富的生活感悟，以小见大，培养自己观察生活的习惯和发现美表现美的独特视角，经常进行剧本创作，这样我们的剧本创作能力一定会有大幅度提高。

二、角色设定的原创性研究

角色是一部影片的灵魂，成功电影塑造的角色往往有独特的形象和鲜明的性格。说到中国经典动画角色造型，人们就想到美猴王，那个上世纪六七十年代，中国动画鹤立鸡群以独一无二的风格屹立在世界舞台之上。《舒克和贝塔》，《蓝皮鼠和大脸猫》让我们仿佛看到了国外动画片《猫和老鼠》《神勇小白鼠》的对中华文明和审美艺术的传承，中国动画角色缺少了民族性的特点。全球经济一体化，西方消费品、文化商品大量涌入中国市场，当代艺术家在形式和思维上受到西式教育，思考、看待问题的方式已离纯正中国式、本民族的思维相差甚远。从这个层面上来说，我国的动画艺术的空白已难以被“民族性”所填补。然而当我国动画看似与国际接轨时，其实只是迎合了西方社会从政治和社会意识形态角度对待中国艺术的“中国性”需求。辉煌不复存在，现代动画形象沦为附庸。西学中用，勇于借鉴国外的先进文化，但不能丧失自己的长处，不能不考虑自身特点。民族性，将为中国动画发展指明方向。《宝莲灯》上世纪末这部被寄予振兴中国动画事业的动画电影，耗资1200百万人民币打造，历时4年制作的动画电影，该片大量利用电脑制作动画，增加了卡通技术含量，创造出的画面更加逼真和赏心悦目。从商业角度而言《宝莲灯》是成功的，从动画片的角度而言，作为一门艺术，角色的设置造型和动画创新的方面存在不足，主角沉香的形象性格不够鲜明。2015年暑假强档动画《大圣归来》为中国动画注入了新的活力，大圣的角色形象法于传统，又高于传统，通过塑造大圣丰富的神态动作语言，塑造了一个英勇无畏的英雄形象。这给大学生朋友也提供了新的思路，老角色换新形象也别有一种感悟。“学我者生，似我者死”，学习和吸收国外的优秀作品是为了更好的提高自己，但别人的东西只能作为一种参照，要“青出于蓝而胜于蓝”。中国动画发展停滞不前，有一点原因就是在学习和模范的过程中，逐渐丢失了自己的长处，前进的目标没有明确。

象征性是日本动画角色的鲜明特征。以鲜艳简洁色彩作为基调的日本动画角色不同于美国，它运用水彩手绘和光影效果，不同物體表现出不同的质感。日本动画涌现出很多贴近生活写实类风格的片子，以宫崎骏的作品《龙猫》、《千与千寻》等为代表，绘画唯美诗意，角色性格鲜明，并且有许多意象化的东西。日本动画非常具有自己本民族的特色，它不同于美国式风格的造型，而是更加的变形夸张了，根据不同对象的性格特征来把握对象的特征;在动作上，使得每个造型都逼真生动，动作连续流畅;喜欢运用明快色彩，给人以突出的视觉享受;在动画题材的运用上，融入了带有鲜明民族特点的神话、寓言等众多题材。民族化特征以及日本动画其他优秀的地方，是值得大学生朋友学习传承的。如何将我国传统文化与影视动画角色造型艺术交融，是一个长期的过程。与其他艺术形式相比，动画片有非常丰富广泛的题材，充分体现了编剧的想象力。动画片不被现实所限制，只要有创意，就可以借助相关技术制作成动画片。当然，我们不能满足于将这些老角色按照传统形象简单重复，要把角色融入鲜明的时代感，满足现代观众的要求，才能获得众多大小观众的喜爱。在宫崎骏的作品《千与千寻》中，为了表现大人们害怕小孩受到风吹日晒，希望他们一直在温室中长大的心理，把婴儿描绘得体形肥胖庞大，笨重庸懒，几乎无法行动，在精致的豪华舒适的婴儿房里，受到百般溺爱，但最终造成小孩任性、自私、软弱、爱慕虚荣的性格。这样的角色设计符合日本当代家庭教育的现状，是社会进步和优越的家庭条件造就的普遍问题，体现了导演极强的生活洞察力，如果没有高度的社会责任感，没有对现实生活的细致观察，宫崎骏先生不会创作出如此出色的作品，更重要的是其取材现实生活加以改编的高超技艺。同理，动画专业大学生应先体验生活，拥有发现矛盾的能力，取材贴近现实而又高于实际，创造出有深刻社会内涵的动画角色。文化就是动画角色的血肉，随着社会的发展，设计者需要拥有深厚的文化底蕴，对文化背景再解析，从视觉认知的层次深入到心中，引入一种境界。将文学名著运用到动画电影中，《风云决》表现得很完美，拥有浓厚的中国文化风味。她融入了我国先秦青铜器、汉代画像石、六朝造像、唐代佛像画、民间皮影以及敦煌壁画等多方面的文化营养，人物面部设计大量借鉴、融合了京剧脸谱的色彩特征，并运用了民间年画的色彩配比;服饰则吸收了壁画、戏曲舞台服饰色彩等诸多元素，取长补短，水乳交融。角色的原创性关乎到一部动画片的成败，是影片质量高低的决定性因素，我们经常见到大学生动画毕业作品中的角色都有一种似曾相识的感觉，从根本上来说，就是对生活，对传统文化体悟不够，日本动画角色和迪斯尼角色的原创设计给了我们很多启迪。对于动画片创作首先概括提炼角色素材，要对主角造型、服饰、动作、面部表情等做细致的斟酌推敲，反复修改，凡事都要精益求精，甚至采用假定设计的方法。大学生朋友要对自己创作的动画形象挑剔严格，详略得当，学会取舍，把所有好东西都赋予一个形象未必有出彩方面。民族性延续而不断变化着的，我们应该积极探索和研究如何将本土特色融入艺术创作之中，既不显得生硬，也不会对传统造成负面影响。时代在发展，也要求动画角色设计者的素质不断提高，不但通晓动画技术技艺，还要拥有本民族文化艺术内涵底蕴，不断提高对传统文化的传承和再认知的能力，古今结合，探索中国动画的定位，这样民族化动画角色才有路可走，才能创造出民族的动画角色品牌。

三、影片风格的原创性研究：

风格是由艺术品的独特内容与形式相统一，作为创作主体的艺术家的个性特征与由作品的题材、体裁以及社会、时代等历史条件决定的客观特征相统一而形成的。风格化特征是动画的独特魅力，是影片在观众心中的最深烙印。中国原创动画作为一种新生力量可以说是前途无量，在国人全方位的关注和支持下，中国动画行业将会欣欣向荣。但与此同时，为了保证原创动画健康成长的可行之路，应学习西方的先进理念与创作精神。

运用民间剪纸与皮影艺术表现手法的动画片《渔童》是一部由民间传说改编而来的，影片运用民间剪纸与皮影的艺术表现手法，人物造型以侧面为主，并看不出表情上的变化，但配合以夸张的动作，却丝毫不会影响情节的表达，在色彩上主要以杨柳青年画的形式为主，特别是采用了传统民间美术中的莲生贵子的纹样。民间吉祥、富有的象征是莲花、金鱼。小渔童的造型和莲花、金鱼一起，极富中国民间的传统特色。渔童的造型浓眉大眼，胖乎乎的四肢，加上红肚兜，就是我们非常熟悉和喜欢的一种中国娃娃。影片具有强烈的风格化，一看就知道是中国的。

水墨动画是中国对世界动画的巨大贡献，《小蝌蚪找妈妈》采用了中国著名国画大师齐白石的大写意花鸟画风格，是水墨动画的伟大创举，《牧笛》吸取了中国国画大师李可染写意山水画风格，一经播出就震撼了世界动画界，为中国动画赢得了世界声誉。从传统的神话故事，到具有中国传统绘画的艺术形式，无一不体现了传统民族、传统文化的精神与内涵。影片具有强烈的中国风，正因为运用了民族文化的艺术语言，从而使人物形象更丰满而鲜活，充满生命的激情。中国博大精深的文化形式是动画创作的源泉。

现在动画的表现形式更丰富，动画有着越来越多的承载体，黑白素描风格、剪纸皮影风格、水墨风格、戏曲风格、年画风格、三维风格、二维手绘风格等都是现在比较风行的形式，已经形成了动画片的“中国学派”。大学生朋友应该关注各类动画展览，经常参加一些动画比赛赛事，加强自身的艺术修养，和外界多交流，多合作，在实践中不断提高自己的眼界，同时也要经常关注其他各类艺术形式，噶U那个饭吸收营养，逐步形成自己独特的动画影片风格。

四、结语

大学生是中国动画未来的脊梁，担负着振兴中国动画的光荣使命，作为大学最后一门中重要的课程，毕业创作实践经历着很长的时间过程，要保证毕业创作的质量，原创性是保证动画片百花齐放的前提，而原创性主要体现在剧本，角色和影片风格三个方面，只有不断挖掘民族语言、才能让传统文化焕发出新的生命和艺术感染力。

【参考文献】

[1]唐小茹.从日美风格看中国动画的出路[J].视听界，2005，（01）.

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