论文部分内容阅读
我们的生活在不断地变化,许许多多新鲜事物不知不觉地来到我们身边。年年闹得沸沸扬扬的动漫节、时常在街上看到的COSPLAY、书店里的大幅海报等等,都已经把“动漫”送到了我们生活里的各个角落。但是,我们不难发现,凡国外的动漫作品窗前总是挤满了人,而我们国人自己原创的作品往往只能落得个无人问津的结果。我们遗憾地发现,令无数中国儿童宁可不端饭碗也不愿离开电视机的动漫《花木兰》源自于中国文学,但出品人却在好莱坞;风靡日本的《七龙珠》也取材于中国的民间故事,但赚钱的同样是别人,我们只有拿出数亿观众的市场来为别人鼓掌的份。究竟是什么绊住了中国动漫得“腿”,总为人作嫁衣裳?我们综合实践小组就这个问题展开了调查。
Our lives are constantly changing, so many new things come to us unknowingly. Every year in the hubbub of the animation festival, often seen in the street COSPLAY, big bookstore posters, etc., have been “anime” to every corner of our lives. However, it is not hard for us to find out that foreign animation works are always packed with people in front of the window, and our own people’s own original works often can only come to no avail. We regret to find that the anime “Mulan” which made countless Chinese children rather reluctant to leave the television originated from Chinese literature, but the producer was in Hollywood. The popular “Dragon Ball of the Pearl” in Japan is also based on the Chinese folk Story, but the same is making money, we only come up with hundreds of millions of viewers to applaud the market for others. What really stupefied the Chinese animation “leg”, the total man for the wedding dress? Our comprehensive practice group conducted an investigation on this issue.