How to write the English literature of the non-legacy animation research summary

Answer 1

The following are some ways to write an English literature review of intangible cultural heritage animation research:

** I. The structure of the research topics by importance + general research fundamentals + specific classification of research fundamentals **
1. ** Description of the importance of the theme **
- It was pointed out that in the context of modern society, the inheritance of intangible cultural heritage faced challenges, and the traditional inheritance methods could not adapt to the needs of modern social development. At the same time, he emphasized that animation, as an art form that was deeply loved by the public and had a strong development momentum, had great potential in cultural communication. Therefore, the combination of intangible cultural heritage and animation was of great significance to non-hereditary inheritance, which was the importance of the research topic.
2. ** Research fundamentals **
- The relevant research was mainly focused on several aspects, such as the feasibility study of intangible cultural heritage animation, the manifestation of intangible cultural heritage animation, and the influence of intangible cultural heritage animation on different audience groups.
3. ** Research fundamentals, specific classification and corresponding literature list **
- As for the feasibility study of the animation of intangible cultural heritage, the relevant literature was cited to explain the limitations of the original inheritance method of intangible cultural heritage under the background of the high development of information technology, and how the combination of animation and intangible cultural heritage could break through these limitations.
- In terms of the manifestation of the animation of intangible cultural heritage, it lists the literature on the animation expression of different types of intangible cultural heritage (such as crafts, folk activities, etc.), and analyses how they are presented through animation forms (such as animated short films, comics, etc.).
- Regarding the influence of intangible animation on different audience groups, literature on the acceptance and recognition of intangible animation by audiences of different ages and cultural backgrounds could be cited.

** 2. The structure is based on the importance of the theme + the fundamentals and classification of the theme + the fundamentals and classification of the operational logic + the fundamentals and classification of the operational effectiveness **
1. ** The importance of the theme is emphasized **
- Once again, it emphasized the urgency of non-hereditary inheritance and the importance of animation in contemporary cultural communication, which led to the importance of the study of non-hereditary animation.
2. ** Description of the theme, content, fundamentals, and classification **
- At the level of content, one could start with the definition of intangible cultural heritage animation. For example, intangible cultural heritage animation was a work that integrated the elements of intangible cultural heritage (such as skills, legends, cultural symbols, etc.) into animation creation. In terms of classification, it could be cross-classified according to the type of intangible cultural heritage (such as traditional skills, folk customs, etc.) and the type of animation (such as 2D animation, 3D animation, stop motion animation, etc.).
3. ** Fundamental analysis of operational logic and classification **
- From the point of view of creative logic, the analysis was to first excavate the intangible elements before creating the animation, or to integrate the intangible elements according to the creative needs of the animation. For example, some created animation specifically to inherit specific intangible cultural heritage projects, while others added intangible cultural elements to existing animation creativity to increase cultural content. From the perspective of communication logic, it was analyzed whether the intangible cultural heritage animation was spread through traditional media or new media platforms, as well as the influence of different platforms on the transmission effect of intangible cultural heritage animation.
4. ** Discussion on the fundamentals and classification of operational effectiveness **
- In terms of effect classification, from the perspective of cultural inheritance effect, literature was cited to study how intangible cultural heritage animation could enhance the public's awareness, interest, and protection awareness of intangible cultural heritage. From the perspective of economic benefits, it analyzed the development of intangible cultural heritage animation related industries (such as the development of peripheral products, etc.) and its driving effect on the local economy.

** 3. Follow the structure of social situation A+ time dimension + social situation B+ space dimension **
1. ** Social situation A and early research (by time dimension)**
- Social situation A could be described as the early stage of global cultural multiculturalism and digital development. The early research on intangible cultural heritage animation mainly focused on exploring the possibility of animation as a new cultural communication tool for non-hereditary inheritance. According to the time dimension, he listed the early research results, such as the earliest attempt to integrate simple intangible elements into animation works. These studies might be more theoretical.
2. ** Social Situation B and Follow-up Research (by Spatial Dimension)**
- The social situation B could be that countries attach more importance to the protection of cultural heritage and the animation industry matures in different countries. From the perspective of space, it first analyzed the research and practical results of intangible cultural relics animation in countries with developed animation industries (such as Japan, the United States, etc.), such as how Japan integrated traditional folk culture into animation creation and successfully spread it to the world. Then, it would discuss the development of intangible cultural heritage animation in countries rich in intangible cultural heritage resources (such as China), including the research results of the creation, communication and industrial development of intangible cultural heritage animation supported by relevant policies.

** 4. The structure of using early research on similar subjects + research on new subjects in new situations **
1. ** Review of earlier studies on similar subjects **
- Early research could focus on the way cultural heritage was transmitted in the era of traditional media, such as documentaries, books, and other records and transmissions of intangible cultural heritage. This paper analyzed the problems of these traditional communication methods, such as the limited scope of communication, the lack of audience appeal, and the reference significance they provided for the study of intangible cultural heritage animation, such as content mining, cultural content expression, etc.
2. ** Research on new subjects in new situations **
- In the new situation, where new media and digital technology were highly developed, the focus was on the new communication target of intangible cultural heritage animation. It analyzed how the intangible cultural heritage animation used the advantages of the new media platform (such as interaction, fast communication speed, etc.) to solve the problems of traditional communication methods, as well as the new challenges faced by intangible cultural heritage animation in the new situation (such as fierce market competition, accurate expression of cultural content, etc.) and the results of relevant research to deal with these challenges.

** 5. Based on the problems pointed out by authoritative literature + theoretical evidence + practical evidence structure **
1. ** Problems pointed out by authoritative literature **
- Search for the core problems pointed out by authoritative literature in the field of intangible cultural heritage animation research, such as the cultural discount of intangible cultural heritage animation in cross-cultural communication, that is, due to cultural differences, audiences with other cultural backgrounds have a biased understanding of the cultural meaning of intangible cultural heritage animation.
2. ** Theoretic evidence provided **
- From the perspective of cultural communication and art studies, relevant theories were cited to explain the causes of these problems. For example, the theory of cultural distance could explain the phenomenon of cultural discount and how the distance between different cultures affected the audience's understanding of intangible cultural relics.
3. ** Illustration of practical arguments **
- He cited actual cases as practical evidence. For example, some of the intangible cultural heritage animation works that were spread internationally, analyzed the practical problems encountered when they were spread in different countries and regions, as well as the countermeasures taken, such as the practical experience of localizing and adapting to audiences with different cultural backgrounds.
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