邓博弘的邓博弘观点
一、题目，题目一般是论题或论点
二、看开头结尾，一般作者会在开头或结尾提出论点
三、如果上面两种情况都没有，就去找每一段的分论点，再加以概括
啊~~~~这个 论点蜂蜜水可以美容
论证：亲自试验，并列举其作用~~
《北大商业评论》/ 201201 ，邓博弘第一次就自己对产业的看法进行了系统的公开演讲，以创意产业民营企业经营者的实践经验，首次抛出了中国文化创意产业发展的工业艺术化和艺术工业化的阶段性发展理论；就中国文化创意产业大环境现状对文化产业的本质属性进行了客观归纳。
文化产品首先第一属性是商品；第二属性是工具；第三属性是具有艺术性，这也是它与其他工业产品的最重要区别。
PekingUniversityBusiness Review / January, 2012
Deng Bohong made a systematic public speaking about his views on the industry for the first time, and brought forward stage development theory about industrial artistry and art industrialization in terms of Chinese cultural creative industry development, as well as gave an object summary about the essential nature of Chinese cultural creative industry.
The first attribute of cultural products is being commodity, and the second attribute is being tool, while the third attribute is being art, which is the most important difference when compared with other industrial products.
《新经济导刊》/ 201206 ，邓博弘与陈少峰（北大文化产业研究院副院长）、贾伟（洛可可设计集团创始人）等人就“文化创意辩证法”的主题，从解析中国文化创意产业的“热与冷”、“小与大”、“善与恶”、“表与本”展开了一场探讨博论。在这次研讨中，邓博弘更进一步深入的表达了对行业的解读。
New Economy Weekly June, 2012
Deng Bohong talked with Chen Shaofeng( associate director of Peking University Cultural Industry Institute) and Jia Wei(founder of Rococo Design Group) about the theme of “cultural creativity dialectic”, and had a discussion in terms of the “Hot and Cold”, “Little and Huge”, “Good and Evil”, “Superficial and Essential” things of Chinese cultural creative industry. In the seminar, Deng Bohong made a profound interpretation about the industry.
--- “热与冷”。市场经济离不开法治社会和民主政治，解决社会环境的问题，是所有行业包括文化创意产业的发展之道。如果都以GDP为主导，以功利和短期效益为主导，以表象为主导，许多推动文化创意产业发展的方法并不成立。国家的政策导向不能头痛医头，脚痛医脚，直接拨钱、批地和建产业园，而应该通过政策法律去树立正确的价值观，形成良好的产业环境和发展机制。
Hot and Cold: Social market economy can not work without the rule of law and democracy, and to solve social environment problems is the development way for all industries including cultural creative industry. If GDP, utilitarian and short-term benefits or superficial phenomenon dominate everything, various ways to promote the development of cultural creative industry would get nowhere. As for the national policy, just specific and limited measures such as dial fund directly or grant land to build industrial park can just have little effects, thus the most important thing is to establish correct values and form good industrial environment and development mechanism through policies and regulations.
--- “小与大”。毫无疑问，文化创意产业是典型的新经济，没有仓储、运输，几乎没有原材料，但文化创意产品的溢价空间却很大。巴尔扎克的手稿价值不可估量，可他使用的纸张和墨水才花了多少钱？
文化创意产业不是靠产量和成本取胜的。2009年，全国电影人在欢呼，中国整个电影票房突破了百亿元，同年美国有一部电影叫《阿凡达》，全球票房27亿美元。这是多大的差距啊！还有更多的例子，10万个普通玻璃杯也抵不上一件汝窑的青花瓷；内容差的书再多也无济于事，一本好书经久不衰，好比四大名著。
Little and Big: Undoubtedly, cultural creative industry belongs to typical new economy, with no warehousing, transportation, and almost no raw materials, but the cultural creativity products have great premium space. Balzac manuscripts are invaluable now, but how much the paper and ink he used cost?
Cultural creative industry does not depend on output or cost. In 2009, all film makers inChinacheering since the total value of Chinese film box exceeded 10 billion Yuan, and American movie Avatar made a global box office record of $ 2.7 billion at the same year. How much the gap is! There are many more examples like 100,000 ordinary glasses are not worth blue-and-white porcelain from Ru Yao.
--- “善与恶”。我近乎矫情地对专业的坚持，无形中就会对短期功利的、浮躁的甚至虚假的行业和社会现象进行一种正面冲击。我没有能力让整个行业发生质变，但如果有许多企业都去努力，量变也会质变。学者、艺术家，越老越值钱，因为这是一生的积累和沉淀。但我们看看现实中的从业者，有多少人认定这份工作是他的终生职业？”这种社会心态是不正常的，但又不是短时间可以改变的，除了价值观的扭曲，还有历史的因素。未来的社会是一个专业细分的社会，要把专业做到极致才行。但现实却是忽悠炒作盛行，违法违纪、失去诚信的成本极低，这就导致一种价值观的误导。
Good and Evil: My almost hypocritical insist on profession would often potentially expose a positive impact on short-term utilitarian, impetuous and even false trades and social phenomena. I simply do not have the power to make a qualitative change in the industry, but if many companies join to work hard, I believe that someday quantitative change would develop into qualitative change. The older scholars and artists became the more valuable they are, because they have a lifetime of accumulation and precipitation. But look at the reality, how many people regard the job as their lifelong career?” It is an abnormal social mentality, which can not be changed in a short-term since it stems from both distortion of values and historical factors. The society in the future will be a professional and fine sorted one, so we should make everything in our professional career perfect. However, in reality, speculation and cheat prevail and the cost of law-breaking being low, all of this leads to a misguided value。
--- “表与本”。邓博弘表示，文化创意产业具备三种属性，第一属性是商品，无论电影还是广告，都要卖钱；第二属性是工具，广告和短片都要给客户使用，从而创造更大的经济效益；第三点很关键，是通过艺术性来达到商品的最大价值和体现工具的功能，比如最明显的是建筑设计、室内设计等商业美术。从业者就要想办法把工业产品艺术化，艺术需要灵感，具有随机性，怎么办？这就需要把艺术产品工业化。典型的案例是美国的好莱坞，采用工业化手段生产了大量具有刺激性的风靡全球的影片，这就诞生了一个名词“创意机制”，机制也可以理解为土壤。
Superficial and Essential: Deng Bohong said that the cultural and creative industry have three attributes , at first it is a commodity , whether movies or advertising films should make money ; secondly it is a tool, both advertising films and movies are made to serve customers and bring greater economic benefits to them ; the third point is critical, when it aims to achieve the maximum value of commodity and tool functions by way of art , such as architectural design, interior design, commercial art field and so on. Practitioners in the industry should find ways to make industrial products an art, but art is random and needs inspiration, how to do? The answer lies in the industrialization of artistic products. A typical case is the Hollywood inAmerica, which produced a large number of irritating films that swept the world through industrialized ways, thus a new noun “creative mechanisms” emerges, and the mechanism here can also be understood as the soil.
继而，邓博弘进一步指出，中国有个哲学概念“舍得”，有舍才有得。你要实现一个产品的商业价值和工具功能，首先要抛弃这两点，把它艺术化，艺术化以后再寻求前两者。所以文化创意产业不像其他产业靠投钱就能解决问题，它真正需要的是土壤。这种土壤让很多艺术家可以吃饱肚子，很多商业领域的人才愿意从事这样的工作，很多生产领域的人才愿意把诞生的艺术性东西转化为工业化生产，这是一个分工有序的产业链条。
Then, Deng Bohong further pointed out thatChinahas a philosophical concept of “She De”, which means you should give at first and then you gain. In order to realize the commercial value and tool function of a product, you should set them aside at first, and process it in artistic ways, finally seek to reach the first goal. Therefore, unlike other industries, solving problems in cultural and creative industries can not rely on investment money, what it truly needs is Soil. Only the Soil can guarantee a decent and rather rich life for artists, business talents would like to take such jobs, and talents in production area would willing to turn artistic items into industrialized products, and this is a part of the orderly industrial chain.
邓博弘强调，文化创意产业针对的是人们的感性心态——美感和快感。战乱贫穷时代，大米和白面值钱；和平年代，经济发展以后，奢侈品、文化艺术品、收藏品开始变得值钱。当社会再进步时，娱乐最值钱，娱乐是人的本性。
Deng Bohong stressed that cultural creative industry aims at the emotional state of mind——sense of beauty and pleasure. At the time of war and poverty, rice and flour worth a lot; at peace time, when the economy develop, luxury and collection became valuable. When the society progresses further, the most valuable thing would be entertainment, since it is part of human nature.
“这并不是主张社会娱乐化，也不是所谓的‘三俗’和八卦，而是人们解决了基本的生存需求和具有了安全感以后，人们会为自己所获得的愉悦和美感付重金买单。娱乐是一种泛指的文化创意服务，譬如旅游、收藏、玩极限运动、唱京剧、看歌剧等。只要人们的兴趣得到最大的抒发，满足了个性和爱好的取向，这就是最大的娱乐。‘黄金周’到哪里都爆满，这反映了人们的一种娱乐取向。”邓博弘解释道。
“This is not an advocate of social entertainment , nor is the so-called ‘three vulgar thing’, what I am saying is that people would like to pay a lot for their gained pleasure and enjoyment when satisfying the basic survival needs and have a sense of security. Entertainment generally refers to a kind of cultural creative service, such as travelling, collecting art items, playing extreme sports, singing Peking Opera, watching opera and so on. As long as people enjoy their interests to the fullest, and satisfy their needs of personality and hobbies, that can be described as the best entertainment. Every place crows people in Golden Week, and this also reflects a kind of entertainment orientation.” Deng Bohong explained.
《中国文化报》/ 20100714，邓博弘针对国内行业的低端化发展提出了类终身职业的感言。
如果一个行业只能让从业人员在浅显、粗糙的体力劳动中日复一日地消耗职业寿命，而找不到向上的动力，那么，这个行业也无法发展壮大。“没有一颗颗大树，也就没有一片森林。”
Chinese culture reported July 14, 2010
Deng Bohong put forward lifelong-career-like views about the low-end development of the domestic industries.
If people in an industry can only consume career life in simple and rough labor work day after day without any motivation to go up, then the industry can never develop. As the saying goes, “without trees, without forest”.
《南方人物周刊》/ 201302
传奇往往只是传播效应的结果，传奇的创造者都明白一个简单明晰的道理：“我的生产能力和精力是有限的，中国人不缺乏创意能力，但是中国的执行太烂了，因为执行是需要付出巨大的精力、时间和代价的，市场给予你的需求，绝对不是你成功的信号！”
“乌龟和兔子赛跑，再跑100次，还是乌龟赢。夸夸其谈谁都会，但真的沉下心来顶住很多压力、放弃很多诱惑，不容易。今天我一点头，可能就是一辆奔驰，再一点头，就是一栋豪宅。我可以点头，我可以给自己100个理由：没事，咱们最近加加班，把这活儿接了。但你只要点了这个头，你就不再是享受工作，而是工作的奴隶。什么戛纳、奥斯卡，统统扯淡了。乌龟虽然慢，但很踏实，而且走的是直线，不为外物所动，一个一个去实现自己的目标。目标不单指金钱和企业的规模，完成人生的蜕变也是目标。要淡定、坦然和充实。”
Southern People Weekly February, 2012
More often than not, legends are just the result of propagation, and all the creators of legend understand a simple and clear truth: My production capacity and energy is limited, and we Chinese people do not lack of creativity, but we are short of executive ability, since execution demands huge effort, time and cost. The demand that market grants you is definitely a sign of your success!”
《环球财经》/ 201205，封面文章“文化振兴中国梦”，邓博弘以创意产业民营公司价值DNA为题，通过对“创意的认识”、“产业审视”以及“氛围判断”参与研讨。
Global Business & Finance May, 2012
In the cover story of Culture Activate The Dream of China, Deng Bohong talked about the value of private companies in creativity industry, and discussed from three aspects of “knowledge about the creativity”, ”industrial overview”, and “environment judge”.
--- 创意的认识。
《环球财经》：对于文化创意产业，从产业的角度来讲您是怎么认识的？
邓博弘：他肯定是一个产业，而且可能是一个终极产业。当社会变得稳定变得富足之后，人们才会真正寻找自己内心的需求，文化、艺术相应的东西开始之前。从中国的历史和现代世界的普遍规律看，强大的物质文明崛起之后，一定伴随的是强大的精神文明崛起。文化产品需要具有设计感具有艺术价值，在这之后其实就会踏入一个全民娱乐时代。
The Cultural Creative Industry
Global Business & Finance: Talking about the cultural creative industry, what’s your view from the industrial aspect?
Deng Bohong: First, it is an industry, and may be an ultimate industry. When the society becomes stable and rich, people will truly seeking for their inner needs, and then things related to culture and art would boom. From the history ofChinaand the universal law of the modern world, powerful material civilization would always accompany with powerful spiritual civilization. Cultural products need to have sense of design and artistic values, and the society will actually step into a national entertainment era afterwards.
--- 产业审视。
《环球财经》：当创意遇到产业，所有的想法必须落地，必须把产品做出来才能挣到钱，您觉得中国现在的土壤和机制怎样？
邓博弘：中国人并不缺创意，我们灵魂里并不缺乏创意与文化的优良的种子，但是现在显得比较贫瘠是因为我们的土壤仍需继续改良，真正好的土壤需要用比较长的时间去培育。现在中国跟国外的区别绝对不是文化底蕴不同，而是因为经济发展的成熟度不同，因为文化创意产业和发展的节奏是非常有关系的。需求决定市场，需求是在不断的进化和演变的，而这种需求和演变又和经济发展有着很大的关系。再次，从技巧上，也是一个发展的必然规律。今天的文化创意产业，不再是我们传承的文化，他是有一些新的概念。市场化是以前没有体现，同时没有工业化就没有产业。这些元素都和我们以前对文化的理解不同，所以产品和结果也会有区别。
Industry Overview
Global Business & Finance: When the creativity encounter industry, all ideas must act in practice, and you can only make money by producing actual products, so what do you think about the current mechanism and surrounding inChina?
Deng Bohong : Chinese people never lack of creative ideas, and we never short of the good seed of cultural creativity, the problem actually lies in the poor soil . We need to keep improving the soil condition, and fertile soil demands long-term nurturing. Currently, the difference betweenChinaand western countries lies absolutely not only in culture, but also in level of economic development, because the development of cultural creative industry relates closely to the rhythm of market.
Demands determine market, while the demand is in constant change and evolution, and the changing demands strongly link to economic development. In addition, technically it is also an inexorable law of development. Today’s cultural and creative industry is more than cultural heritage, it has some new concepts. In a word, there is no industry without industrialization. And all of these elements are different from our previous understanding about culture, so the products and result would be different.
--- 氛围判断。
《环球财经》：目前中国已成为全球第二经济大国，这是否意味着中国的文化创意产业将获得崛起的环境呢？
邓博弘：我们在经济上用了30年完成了欧洲大概400年历程，但文化的进步速度肯定不会像经济那样快。因此中国富裕群体的文化消费能力已经达到发达国家的水平，但更多地是在消费LOGO，属于一种面子消费。全民的价值观的问题需要几代人来完成，尤其是文化意识的培养和延伸是需要一代一代传承并发扬光大。
Progress
Global Business & Finance: At present,Chinahas become the world’s second largest economy entity, so does this mean that cultural creative industry inChinawill have an environment for rising?
Deng Bohong: We spent 30 years to complete an economic task that achieved by European countries for about 400 years, but the progress rate of culture certainly can not as fast as the economy . Now, the cultural consumption capacity of rich people inChinahas reached the level of developed countries, but they still prefer to consume LOGO. The problem of universal values demands efforts of different generations, especially the cultivation and extension of cultural awareness need to pass from generation to generation and then flourish.
《财富堂》/ 201007
人们会从关心碗里有没有肉，变成去欣赏端在手里的碗是不是青花瓷、到底是哪个窑烧出来的，这个进度是需要一个过程。保持淡定、耐心等待，这是一个铁定的规律。
FortuneTown July, 2010
People would someday change from a state in which only caring about the meat in the bowl to a situation in which appreciating the bowl itself, but this demands a long process. Keep calm and be patient, it is always a golden rule.
成王解腹膜： “全球动画大师”评选活动,是由计算机图形软件巨头、世界500强公司AUTODESK组织评选,是为了表彰全球杰出的三维动画从业者.对于大多数中国人而言,“全球动画大师”这一称号非常陌生,但是这些大师的作品举世闻名《加勒比海盗...
萧县18247729406： 点石数码 - 有哪些动画手法是点石数码创始人邓博弘开创的? ？
成王解腹膜： 作 为 点 石 数 码 的 创 始 人 , 邓 博 弘 在 技 术 创 新 的 道 路 上 不 断 前 行 , 开 创 了 很 多 的 动 画 制 作 手 法 , 使 得 点 石 数 码 在 国 内 遥 遥 领 先 . 由 他 开 创 的 手 法 包 括 建 筑 生 长 动 画 表 现 手 法 , 代 表 作 有 2 0 0 5 年 的 《 诺 德 中 心 》 ! 还 有 工 笔 画 动 画 的 表 现 手 法 , 代 表 作 有 2 0 0 9 年 的 《 金 地 ? 芙 蓉 世 家 》 , 他 的 作 品 普 遍 具 有 国 际 影 响 力 , 对 行 业 发 展 做 出 了 卓 越 的 贡 献 .
萧县18247729406： 国家认定首批动漫企业有哪些?有做过深入了解的吗 - ？
成王解腹膜： 国家首批动漫企业名单包括:
萧县18247729406： 国内著名动画制作公司点石数码的创始人邓博弘有哪些个人荣誉? ？
成王解腹膜： 邓 博 弘 , 深 圳 市 点 石 数 码 科 技 有 限 公 司 创 始 人 . 1 9 7 3 年 出 生 于 内 蒙 古 , 汉 族 , 祖 籍 山 东 . 从 业 十 年 间 执 导 1 0 0 余 部 动 画 、 广 告 作 品 , 截 ...
萧县18247729406： 什么是建筑生长动画,代表作有什么?？
成王解腹膜： 建筑生长动画是通过物理解构,采用层剥、逐层递进的陈诉方式,赋予影片效果呈现建筑随着钢架、水泥、玻璃等建筑材料从无到有、瞬间拔地而起或者逐渐生长的表现内容过程.该表现手法由《诺德中心》导演,深圳点石数码总经理邓博弘于2004年首创,因为其严谨逻辑的表达方式,生动的视觉效果,使得该表现手法一经投放即收到全球同行的高度认可并被广泛沿用,发展至今,该表现手法已成为行业的常用表现手法.
萧县18247729406： 看了一个2011年美的的品牌宣传片效果很棒,谁做的?？
成王解腹膜： 2011年美的品牌宣传片应该是出自“点石数码”之手,这是家深圳的公司,创始人是被誉为“全球动画大师”的邓博弘.他不光是总经理,还兼任总导演,在2009年成为全球游戏、电影、数码动画领域公认的9位世界大师之一.至于美的的这部宣传片,当年就荣获了金海豚厦门国际动漫节“厦门创新奖”,而且在2012 年捷克国际动漫节上还获得了“最佳广告奖”的提名.确实是非常有特点的宣传片.
萧县18247729406： 点石数码做过哪些房地产品牌的广告大片?？
成王解腹膜： 点石数码做过的房地产品牌的形象片那可真的是不少呢,像《诺德中心》就是建筑生长动画的代表作,还有工笔画动画代表作《金地•芙蓉世家》,《鸿隆世纪》采用的是实拍+三维的手法,至于《海岸城西座》更是亚洲在全球流体模拟领域的代表作品……总之你到点石数码的网站上可以看到很多他们的代表作,效果都特别好,而且他们的总经理邓博弘还被称为“全球动画大师”呢.
萧县18247729406： 国产三维动画做制作比较领先的有哪家公司? - ？
成王解腹膜： 点石数码据说不错,他们的总经理兼总导演邓博弘早在2009年的时候就荣获“全球动画大师”的称号了.虽然这个称号可能比较冷门,但是荣获这个称号的公司都是暴雪、皮克斯这样的大公司,而且制作出来的东西也都是《变形金刚》《阿凡达》《星际迷航》这种大制作.你可以到点石数码的网站看一下,里面有很多代表作.
萧县18247729406： 想做企业宣传片,谁知道哪家公司做的比较好?？
成王解腹膜： 做企业宣传片推荐一下点石数码吧!这是个2003年成立的公司.总部深圳,擅长广告短片、三维动画、电影特效制作,是全球顶尖的视效创意公司.创始人是号称“全球动画大师”的邓博弘.到现在点石数码出品的作品已经有100多部了吧,制作工艺多年来都堪称行业风向标!好多技术、手法都是行业先河,他们为中国安防、世联地产制作的企业宣传片都很不错哟!截止2013年,在全球视效创意领域的国际顶尖赛事点石数码先后获得14项国际大奖,已经算是享誉国际的顶级宣传片制作公司了.
萧县18247729406： 三维工笔画动画作品《金地芙蓉世家》的广告是那家公司的作品?？
成王解腹膜： 《金地•芙蓉世家》是深圳点石数码的作品,公司总经理兼总导演是全球动画大师邓博弘.这部作品是全球首部通过三维技术实现中国传统工笔画风格的作品.在2009年欧洲数字内容艺术创意节中获得“最佳三维模拟金奖”,这也是中国人第一次在这个赛事上摘得金奖.因此也让这部广告片与《阿凡达》、《功夫熊猫》一同荣列AUTODESK全球成功客户案例.
