现实主义动画创作论析
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摘要
本论文从动画创作的基本创作观入手,分析和讨论中国动画创作与现实主义创作观结合的可能性和积极意义。
在动画创作中,现实主义的动画片和现实主义的创作观确实存在,而且是动画的一个重要组成部分。现实主义在动画中的存在与其他艺术中现实主义相比具有特殊性。动画创作中的现实主义和浪漫主义经常共同存在,呈现混合的面貌。但动画创作中的现实主义的创作观和浪漫主义等其他创作观毕竟不同,其出发点是关注生活,其方法是如实反映生活,其目标是解析生活,追求真善美,以实现对生活和人性的关怀。
总体观察现实主义动画创作的历史和现状:美国动画的现实主义创作观,一方面浸透着一种美国时代精神,另一方面则体现着其平民意识。日本动画的现实主义创作观则倾向于对普通人和普通的生活进行描摹和关怀,尤其是关注社会下层人的生活状态,体现出一种人道精神。而欧洲,法国的动画和加拿大巴克动画的现实主义创作观则充分显示着欧洲深厚的人文精神和艺术家的社会责任感。但在中国,动画创作和理论则缺失了“现实主义”,需要在实践和理论两方面与现实主义创作观结合,从而作更合理的更新。
在中国的动画创作中提倡现实主义是具有可行性的,现实主义创作观与中国动画创作结合的理想状态是:有效结合中国动画创作者的优势,通过转变创作观念,影响创作方法,用作品建立与中国动画观众的情感联系,实现动画创作者、作品和动画观众三者的良好互动和良性循环。
对理论的研究需要与创作联系,探索现实主义动画创作与动画艺术的现代特征的结合方式,现实主义观念应该落实到中国动画创作的具体创作过程中。现实主义创作观与中国动画创作结合的方法论要求是,从创作前期的思维过程开始一直到最后动画片的完成都要注意符合现实主义和动画艺术特性,以及符合中国动画情况的三方面准则。
经过对现实主义动画创作的评论和分析,得出了动画创作可以而且应和现实主义相结合的结论,尤其是对于中国动画来说,提倡现实主义的动画创作具有积极意义。
In this thesis, I make my points around the concept of animation’s creation, to prove that Realism as a classical concept of artistic creation could be and should be used by Chinese animation creators nowadays.
There is Realism in animation, in the movies or in the conceptions of the main spirits of the movie; Realism is an important part of animation. But Realism in animation is different with other kinds of arts. In animations, Realism usually mixes with Romanticism; it’s hard to tell them apart from each other. The differences are: Realism in animation emphasis on real life, ordinary people, to reflect life as the way it is, to explain life, looking after for truth, good and beauty, to care for life and humanity.
To observe Realism animation creation, the history and current situation, we can tell: in Americans’creation of animation, Realism is about now, about the spirit of today, also it’s about ordinary people. In Japan, artists emphasis on ordinary people, especially people live in the bottom of the society. In Europe and in Canada, artists are full of the spirit of Humanism, and work with strong sense of responsibility of the society. But in China, creation of animation goes without Realism, which is just been need both in practice and research of the animation theory. This deficiency is very negative to Chinese animation nowadays.
Add Realism into Chinese creation of animation is possible. And the ideal situation is: make unity of Chinese Animation creators by changing their concept of artistic creation and method of artistic creation with Realism. Thus we can gradually have a healthy circle made up by creators of animation, animations and audience of animation.
To make my theory research more useful, there has to be the discussion about the method of artistic creation. Realism should be used in the real process of animation creation, from the inspiration to the post-production. We have two principles, be in accord with the properties of animation, be accord with the requests of Realism and be accord with the situation of Chinese animation.
Through the discussion and analyzation of Realism in the animation creation, the conclusion is the creation of animation could and should be combined with Realism. Especially to Chinese animation, to add Realism into Chinese animation creation is signification.
在动画创作中,现实主义的动画片和现实主义的创作观确实存在,而且是动画的一个重要组成部分。现实主义在动画中的存在与其他艺术中现实主义相比具有特殊性。动画创作中的现实主义和浪漫主义经常共同存在,呈现混合的面貌。但动画创作中的现实主义的创作观和浪漫主义等其他创作观毕竟不同,其出发点是关注生活,其方法是如实反映生活,其目标是解析生活,追求真善美,以实现对生活和人性的关怀。
总体观察现实主义动画创作的历史和现状:美国动画的现实主义创作观,一方面浸透着一种美国时代精神,另一方面则体现着其平民意识。日本动画的现实主义创作观则倾向于对普通人和普通的生活进行描摹和关怀,尤其是关注社会下层人的生活状态,体现出一种人道精神。而欧洲,法国的动画和加拿大巴克动画的现实主义创作观则充分显示着欧洲深厚的人文精神和艺术家的社会责任感。但在中国,动画创作和理论则缺失了“现实主义”,需要在实践和理论两方面与现实主义创作观结合,从而作更合理的更新。
在中国的动画创作中提倡现实主义是具有可行性的,现实主义创作观与中国动画创作结合的理想状态是:有效结合中国动画创作者的优势,通过转变创作观念,影响创作方法,用作品建立与中国动画观众的情感联系,实现动画创作者、作品和动画观众三者的良好互动和良性循环。
对理论的研究需要与创作联系,探索现实主义动画创作与动画艺术的现代特征的结合方式,现实主义观念应该落实到中国动画创作的具体创作过程中。现实主义创作观与中国动画创作结合的方法论要求是,从创作前期的思维过程开始一直到最后动画片的完成都要注意符合现实主义和动画艺术特性,以及符合中国动画情况的三方面准则。
经过对现实主义动画创作的评论和分析,得出了动画创作可以而且应和现实主义相结合的结论,尤其是对于中国动画来说,提倡现实主义的动画创作具有积极意义。
In this thesis, I make my points around the concept of animation’s creation, to prove that Realism as a classical concept of artistic creation could be and should be used by Chinese animation creators nowadays.
There is Realism in animation, in the movies or in the conceptions of the main spirits of the movie; Realism is an important part of animation. But Realism in animation is different with other kinds of arts. In animations, Realism usually mixes with Romanticism; it’s hard to tell them apart from each other. The differences are: Realism in animation emphasis on real life, ordinary people, to reflect life as the way it is, to explain life, looking after for truth, good and beauty, to care for life and humanity.
To observe Realism animation creation, the history and current situation, we can tell: in Americans’creation of animation, Realism is about now, about the spirit of today, also it’s about ordinary people. In Japan, artists emphasis on ordinary people, especially people live in the bottom of the society. In Europe and in Canada, artists are full of the spirit of Humanism, and work with strong sense of responsibility of the society. But in China, creation of animation goes without Realism, which is just been need both in practice and research of the animation theory. This deficiency is very negative to Chinese animation nowadays.
Add Realism into Chinese creation of animation is possible. And the ideal situation is: make unity of Chinese Animation creators by changing their concept of artistic creation and method of artistic creation with Realism. Thus we can gradually have a healthy circle made up by creators of animation, animations and audience of animation.
To make my theory research more useful, there has to be the discussion about the method of artistic creation. Realism should be used in the real process of animation creation, from the inspiration to the post-production. We have two principles, be in accord with the properties of animation, be accord with the requests of Realism and be accord with the situation of Chinese animation.
Through the discussion and analyzation of Realism in the animation creation, the conclusion is the creation of animation could and should be combined with Realism. Especially to Chinese animation, to add Realism into Chinese animation creation is signification.
引文
1. 贾否,路盛章,动画概论[M],北京,北京广播学院出版社,2002
2. 张惠临,20 世纪中国动画艺术史[M],西安,山西人民美术出版社,2002
3. 佟婷,动画艺术论[M],北京,中国传媒大学出版社,2007
4. 薛燕平,世界动画电影大师[M],北京,中国传媒大学出版社,2006
5. [英]莉斯·费伯[美]海伦·沃尔特斯/著,王可 曹田泉 王征/译,动画无极限-世界获奖动画短片的经典创意[]上海,上海人民美术出版社,2004
6. [美]克莉斯汀·汤普森 大卫·波德维尔/著,陈旭光 何一薇/译,世界电影史[M],北京,北京大学出版社,2004
7. 白晓煌,日本动漫[M],北京,中国旅游出版社,2006
8. [美]达琳·诺克林/著,刁莜华/译,现代生活的英雄-论现实主义[M],桂林,广西师范大学出版社,2005
9. [法]安德烈·巴赞/著,崔君衍/译,电影是什么?[M],南京,江苏教育出版社,2005
10. 智海 欧阳应霁,路漫漫-香港独立漫画 25 年[C],北京,生活·读书·新知 三联书店,2007
11. 电影艺术词典[Z],北京,中国电影出版社,1986
12. 文学词典[Z],武汉,湖北人民出版社,1983
13. [法]H·丹纳/著,张伟/译,艺术哲学[M],北京,北京出版社,2004
14. [美]苏珊·朗格/著,滕守尧 朱疆源/译,艺术问题[M],北京,中国社会科学出版社,1983
15. [美]V·C·奥尔德里奇/著,程孟辉/译,艺术哲学[M],北京,中国社会科学出版社,1983
16. 马凤林,自然主义-平实的视角与永恒的人性[M],武汉,湖北美术出版社,2005
17. 马凤林,写实主义-政治的寒暑与艺术的兴衰[M],武汉,湖北美术出版社,2005
18. [法]斯基法诺/著,王竹雅/译,1945 年以来的意大利电影[M],南京,江苏教育出版社,2006
19. 舒晓明,中国电影艺术史教程[M],北京,中国电影出版社,1996
20. [US]Carol A. Stabile and Mark Harrison, Prime Time Animation-Television animation and American culture[C], Routledge Taylor& Francis Group, London and New York, 2003
21. [US]Jonathan Gary, Watching with The Simpsons-Television, parody, and intertextuality[M], Routledge Taylor& Francis Group, London and New York, 2006
22. 王铎,记住,他叫约翰·格里尔逊[J],看电影,2008-1-25
23. 王受之,中国设计教育批判[J]艺术与设计,2008-3,page146-149
24. 蒋晓丽 等/著,全球背景下中国文化产业论[M],成都,四川大学出版社,2006
25. 王冀中,动画产业经营与管理[M],北京,中国传媒大学出版社,2006
26. 周雪梅,当代中国电视剧平民叙事研究[D],北京,中国传媒大学文学院,2004
27. 黄墨樵,法国动画史[D],北京,中国传媒大学动画学院,2007
动画片中的现实主义元素 http://bbs.mov6.com/thread-59113-1-5.html
动画业需要点务实精神 ——专访北京电影学院副教授、导演陈廖宇先生 本文来自: 动画创作家园 详细出处:http://www.chinavid.com/academic/2006-2-15/k5115.htmhttp://www.chinavid.com/academic/2006-2-15/k5115.htm
周黎明:透过辛普森一家看美国 http://news.sina.com.cn/pl/2007-07-31/073413561244.shtml
我国第一部现实主义题材动画片《小兵张嘎》 http://www.chinacomic.com.cn/WX/huandeng/200612/WX_20061229172131.shtml
中国马克思主义研究网 http://myy.cass.cn/index.asp#cidian
“草根”释义 http://baike.baidu.com/view/49504.html?wtp=tt
2. 张惠临,20 世纪中国动画艺术史[M],西安,山西人民美术出版社,2002
3. 佟婷,动画艺术论[M],北京,中国传媒大学出版社,2007
4. 薛燕平,世界动画电影大师[M],北京,中国传媒大学出版社,2006
5. [英]莉斯·费伯[美]海伦·沃尔特斯/著,王可 曹田泉 王征/译,动画无极限-世界获奖动画短片的经典创意[]上海,上海人民美术出版社,2004
6. [美]克莉斯汀·汤普森 大卫·波德维尔/著,陈旭光 何一薇/译,世界电影史[M],北京,北京大学出版社,2004
7. 白晓煌,日本动漫[M],北京,中国旅游出版社,2006
8. [美]达琳·诺克林/著,刁莜华/译,现代生活的英雄-论现实主义[M],桂林,广西师范大学出版社,2005
9. [法]安德烈·巴赞/著,崔君衍/译,电影是什么?[M],南京,江苏教育出版社,2005
10. 智海 欧阳应霁,路漫漫-香港独立漫画 25 年[C],北京,生活·读书·新知 三联书店,2007
11. 电影艺术词典[Z],北京,中国电影出版社,1986
12. 文学词典[Z],武汉,湖北人民出版社,1983
13. [法]H·丹纳/著,张伟/译,艺术哲学[M],北京,北京出版社,2004
14. [美]苏珊·朗格/著,滕守尧 朱疆源/译,艺术问题[M],北京,中国社会科学出版社,1983
15. [美]V·C·奥尔德里奇/著,程孟辉/译,艺术哲学[M],北京,中国社会科学出版社,1983
16. 马凤林,自然主义-平实的视角与永恒的人性[M],武汉,湖北美术出版社,2005
17. 马凤林,写实主义-政治的寒暑与艺术的兴衰[M],武汉,湖北美术出版社,2005
18. [法]斯基法诺/著,王竹雅/译,1945 年以来的意大利电影[M],南京,江苏教育出版社,2006
19. 舒晓明,中国电影艺术史教程[M],北京,中国电影出版社,1996
20. [US]Carol A. Stabile and Mark Harrison, Prime Time Animation-Television animation and American culture[C], Routledge Taylor& Francis Group, London and New York, 2003
21. [US]Jonathan Gary, Watching with The Simpsons-Television, parody, and intertextuality[M], Routledge Taylor& Francis Group, London and New York, 2006
22. 王铎,记住,他叫约翰·格里尔逊[J],看电影,2008-1-25
23. 王受之,中国设计教育批判[J]艺术与设计,2008-3,page146-149
24. 蒋晓丽 等/著,全球背景下中国文化产业论[M],成都,四川大学出版社,2006
25. 王冀中,动画产业经营与管理[M],北京,中国传媒大学出版社,2006
26. 周雪梅,当代中国电视剧平民叙事研究[D],北京,中国传媒大学文学院,2004
27. 黄墨樵,法国动画史[D],北京,中国传媒大学动画学院,2007
动画片中的现实主义元素 http://bbs.mov6.com/thread-59113-1-5.html
动画业需要点务实精神 ——专访北京电影学院副教授、导演陈廖宇先生 本文来自: 动画创作家园 详细出处:http://www.chinavid.com/academic/2006-2-15/k5115.htmhttp://www.chinavid.com/academic/2006-2-15/k5115.htm
周黎明:透过辛普森一家看美国 http://news.sina.com.cn/pl/2007-07-31/073413561244.shtml
我国第一部现实主义题材动画片《小兵张嘎》 http://www.chinacomic.com.cn/WX/huandeng/200612/WX_20061229172131.shtml
中国马克思主义研究网 http://myy.cass.cn/index.asp#cidian
“草根”释义 http://baike.baidu.com/view/49504.html?wtp=tt