文档介绍：本科毕业论文(设计)
外文翻译
原文:
Malaysian animation at the crossroads
Taylor and
Malaysia’s first animation television series was screened in 1995. In less than ten years, the industry has produced numerous ongoing animation TV series, feature films and telemovies. This is an unprecedented feat among the ASEAN countries, considering that Malaysia does not have established studios, as in the Philippines, Thailand, Vietnam and Indonesia. Although these countries offer animation services to foreign studios, none of them has its own ongoing feature films or TV series.
It would seem, then, that the Malaysian long-form animation industry is on the threshold of greater things e. However, the general consensus among producers and practitioners is that the industry is not headed anywhere. Breaking into the global market is the possible answer, but this is easier said than done. Except for the output of a few studios, quality is substandard or just average. The majority of the producers are satisfied with supplying animation series only to Radio-Televisyen Malaysia (RTM, the Government channel), as it is the only TV station that pays about US$10,000 for a half-hour animation episode. All other TV stations only offer about US$500. plaint among producers is that animation graduates are only trained in animation techniques but lack knowledge in areas such as story, miseen-scene , cinematography, editing and acting. There is no specialization in local studios, and animators have to double-up as writers, directors and designers. With this kind of scenario, the Government’s desire to create more local content – especially content that reflects a national identity – appears to promised.
This paper will, firstly, look at the state of the long-form animation industry and its development. Secondly, it will look at animation training, and whether students are being properly prepared for the real world. Lastly, this paper will look at the foreign influences on narrative, design and techniques