关于兰州理工大学毕业设计(论文)简介格式要求的通知

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兰州理工大学毕业设计（论文）简介格式要求

一、文章结构形式

前置部分：论文标题 (Arial字体，段前: 一行，段后:一行，三号字加粗)居中，另起一行居中排列专业名称、学号、学生姓名、指导教师姓名、职称 (间

隔三个汉字，中文宋体五号字，英文Times New Roman 11号字)。

英文Abstract (段前：0.5行，字体：Arial 10号加粗，居中) ：正文(字体Times New Roman 10号字，行距：固定值16磅)：应与中文摘要内容相同。

英文关键字 (缩进两格，字体：Arial 10 号字)：应与中文内容相同。中文摘要(段前：0.5行居中)：摘要正文200字左右 (宋体小五号字，行距：

固定值16磅)。

关键字 (缩进两格，段后：0.5行)：3一5个词。

正文部分 (Times New Roman 11号字，行距：最小值15磅)：

1 XXX（一级标题）（首行不空格， Arial字体, 段前0.5行，段后0.5行, 小四

加粗）

1.1 …·…·（二级标题）（首行不空格，字体：Arial 11号字加粗）

…·…·（三级标题：不出现1.1.1）（不单独占用一行，而是与下一自然段

连排，只需将小节标题加粗即可。三级标题的题目与正文之间用句号“.”分隔） 2.2 -- --

2、XXX （首行不空格） 2.1…·…·（首行不空格） …·…· 2.2 -- --

参考文献References (段前：0.5行，字体：Arial 小四号加粗，居中): 文献内容（Times New Roman 小五号字，期刊格式为：作者姓名.论文题目[J]. 期

刊名, 出版年 (卷号):页码. 网上内容格式为：作者姓名.文章题目.时间.网址.）

[1] G..C. Wei. The History of Animation[J]. Enginnering Structure, 2005, 67(7):809-815. [2] Li Xiao tao. Chinese Animation production: Splendid Past, Bitter Present. 2006. 5. 21, http://www.china.org.cn/english/features/film/84974.htm.

上述各项，除特殊要求的字号与字体外，Times New Roman 11号字，行距：最小值15磅。

二、行文要求

每篇文稿2000字左右，不超过四页A4纸，要言简意赅，术语规范，论据充分，条理清楚，图表、公式、程序要安排紧凑。

三、插图要求

图形大小合适、规范，图号清楚(图题小五号字，加粗)。四、打印要求

A4纸激光打印，文稿清晰；页边距：上2.5cm、下2cm、左2.2cm，右2.2cm,页眉页脚均为1.5cm。

参考范文

Animated Cartoons in the Cultures of America, Japan

and China

英语专业 02400208 周莹指导教师 Ms. Martha Ello

Abstract

Animation is an international culture. China’s animation is a vital part in the world animation industry, which shines with unique brilliance. Through 70 years’ of development, China’s animation has reached a high level of art. However, because of a large number of foreign animations introduced into China, China’s animation industry is confronted with huge challenges. Meanwhile, the animation industry of America and Japan continues to boom vigorously. Therefore, it is an urgent affair for Chinese animators to seek a better development way to occupy the markets both at home and abroad. This thesis starts with the history of animation, describes the role of technology and lists some outstanding animated cartoons. Next, there is a comparison of basic country characteristics and the main features of China, Japan and the United States of America. Furthermore, it analyzes the actualities of China’s animation industries, listing the major problems. And with the successful cases from American and Japanese animation, opinions and suggestions are given on how to revive China’s animation industry from interior reasons to exterior causes. Finally, it expresses confidence in China’s animation future, and reaches the conclusion that China’s animation industry has a promising future, though the way to the success may not be smooth.

Key words: animation; China; America; Japan; revival

摘要

动画艺术是一种世界性的文化。中国的动画作为世界动画的重要组成部分也闪耀着它独特的光辉。在经历了七十多年的探索与发展后，中国的动画创作已达到了一定的艺术水准。但随着日本美国动画的大量引进，中国的动画业面临着巨大的挑战。而与此同时，美日两国的动画业却仍继续迅猛发展。如何在新世纪探寻一条适合中国动画发展的道路是目前国产动画亟待解决的问题。本文从动画的历史开始梳理，通过对科技手段的运用列举在世界历史上产生的优秀作品，并通过比较分析揭示美日中三国的动画特征，然后结合国产动画产业的现状，分析现在国产动画产业存在的种种问题，再结合中国的历史以及日本美国动画业的成功案例，从内因与外因分析振兴国产动画业的方法；最后提出对国产动画产业的展望与信心，并得出结论：国产动画产业虽道路曲折，但前景美好。

关键词：动画；中国；美国；日本；振兴

1 Introduction

Animation, as a special form of art, exists in many international cultures. From its birth, the communication of animation has become increasingly extensive. China’s animation plays a vital role in the world’s animation industry, which shines with unique brilliance. Through 70 years’ of development in animation, China has made many excellent works, such as Little Tadpole Looking for Mummy, Uproar in Heaven, Nezha Conquers the Dragon King, Three Monks, and Calabash Brothers, etc. (see Figure 1–5 below)

Picture excerpts from: (1) Little Tadpole Looking for Mummy; (2) Uproar in Heaven; (3)

Nezha Conquers the Dragon King; (4) Three Monks and (5) Calabash Brothers.

However, because of the reform and opening-up policy, a large number of foreign animations are being introduced into China. Thus, China’s animation industry is being confronted with huge challenges. Meanwhile, the animation industry of America and Japan continues to boom vigorously.

（1）小蝌蚪找妈妈（2）大闹天宫（3）哪吒闹海

（4）三个和尚（5）葫芦兄弟

Therefore, it is an urgent affair for Chinese animators to seek a better way to develop their art in order to occupy the markets both at home and abroad. Especially in this stage of development for world’s economy globalization, it is important to advocate intensive localization of animation, create more animated images with Chinese characteristics and

carve out a new market as a part of the cultural strategy. It is possible for China to improve its history and compare with the U.S and Japan — some of the great animation powers in the world, and combine its national condition to find a way leading to a new renaissance as well.

2 History of Animated Cartoons

Animation has a long and illustrious history. The earliest forms of animation date back a couple centuries before the advent of film. Its roots come from a desire to tell stories to an audience through the illusion of motion. The motion alone conveys more than just a narrative. It conveys emotion. When used with cartoon characters, animation can bring out much stronger emotions in an audience than even a normal film or theatrical performance. 2.1 What is animation?

Animation refers to a simulation of movement created by displaying a serious of pictures, or frames. The major goals of animation aim at amusing and educating people by presenting a fantastic, humorous and vivid artistic appeal to special forms of expressions. Recently, the animation industry has been nicknamed the “Sunrise Industry of the 21st Century”. 2.2 Origination and development of animation

The origins and history of animation is well explained by Ken Baer in his article. He divided the history into several periods: The Magic Lantern, Persistence of Vision, Early Photography, The Invention of Cinema, Animation Evolves, Animation Technology Advances, Early Animation Studios, Disney Enters Picture, Oswald and Mickey, Disney Dominates, 3D Animation, Animated Features, Animation’s Golden Age, UPA’s New Look, The Decline of the Studios, Television Takes Off, World Wide Animation and The late 1980’s to now. Each period illustrates the developmental process of animation.

3 Comparison of Basic Country Characteristics

America was one of the earliest countries to make animation. Today, it has become a huge animation industry which is best represented by Disney animations. On the other hand, Japan began its animation late, but developed rapidly. Nowadays, Japan also has owned a highly advanced and prosperous animation industry of a world reputation.

In contrast, China's cartoon industry has long been regarded as educational and artistic with a focus only for children. Although China’s cartoon industry had a splendid history, it began to lagging behind overseas markets after the mid-1980s. As stated, obviously, the animation of these three countries has each own characteristics and features, which makes each of them differ from others. 3.1 American animation

While the origins of motion pictures can be traced to Europe as well as to the United States, the history of modern animated films is almost entirely an American accomplishment. The Golden Age of American Animation is a period that began with the advent of sound cartoons in 1928 and lasted into the 1960’s. 3.2 Japanese animation

Japanese animation, known as anime, blossomed after World War II (1939-1945) and today is immensely popular both within Japan and worldwide. 3.3 Chinese animation

China has a long history in the art of animation. In the period between the 1950s and

1980s, a golden era of animation was entered. Roughly estimated, since the country’s animation made its debut on the world movie circle, it has won 57 international awards and more than 200 local prizes. Its unique artistic style is known as the "Chinese School" worldwide.

3.4 Japanese animation vs. American animation — cultural differences

Animation is part of general culture, so it represents the background of the culture it belongs to. Therefore, animations produced in the US with American background and those of Japan are quite different from each other.

4 Measures and Suggestions to Revitalize China’s Industry

This section analyzes what are the main obstacles for the development of China’s animation industry today from interior reasons to exterior causes, and offers some suggestions on how to revitalize the country’s animation industry by illustrating or highlighting some successful case studies of Japan and the US references. 4.1 Analysis of the actualities

This part analyzes actualities of China’s animation industries, discussing the major problems:

 There is a lack of individual characteristics both in story and characters.

 The animation’s dryness of content and persistent focus only for education

often causes one to consider Chinese animation media with a frown.  There is a totally mistaken idea about animation in China.

 Shortage of funds corners the industry into vicious and weird circle.  There is not a proper national policy to support China’s industry.  Chinese animation creation is usually not a business operation.

4.2 How to revitalize China’s industry

This part puts forward some useful suggestions on how to resolve matters in the animation industry. Substantial materials are quoted from China’s successful history, Japan and the United States. The followings are the potential solutions that are discussed:

 Return to China’s traditional roots

 Enrich plots with Chinese characteristics

 Remove the long-standing mistaken idea to extend audiences’ age groups  Train more domestic professional animators  Gain support from government

 Pay attention to markets, forming an integrated industrial chain  Avoid use of slang and improper mannerisms

5 Conclusion

In conclusion, it is not easy for China’s current crop of animators and cartoon filmmakers to keep their heads above the flood of overseas animations which have swamped the home market since the early 1990s. However, there is still a promising future for China’s animation industry, which is struggling to stand up to the foreign pressures energetically. In spite of this, the way to success may not always be smooth. There are still many difficulties and troublesome problems in the industry, such as mentioned above, including a lack of individual characteristics both in story and characters, a totally mistaken idea about animation,

and loss of enough attention on business operation, etc. In the following years, Chinese animators should try their best to solve these problems, and create their own animation world. In addition, they should also follow their ancestors’ heritage and developmental orientation, so as to carry forward the splendid history.

References

[1] G..C. Wei. The History of Animation[J]. Enginnering Structure, 2005, 67(7):809-815. [2] Li, Xiao. 2004. Chinese Animation: Splendid Past, Bitter Present. 2006. 5. 21.

http://www.china.org.cn/english/features/film/84974.htm.