后現(xiàn)代語境下今敏動(dòng)畫作品的鏡頭語言研究
發(fā)布時(shí)間：2019-01-05 13:14
【摘要】：今敏（Satoshi kon）是一位優(yōu)秀的日本動(dòng)畫導(dǎo)演，在他從業(yè)的十七年中卻只留下了四部動(dòng)畫電影、一部劇集動(dòng)畫和一部一分鐘的實(shí)驗(yàn)動(dòng)畫，他以解析夢境與現(xiàn)實(shí)的關(guān)系的主題、“意識(shí)流”化的表現(xiàn)手法而著稱。論文從今敏的生平簡歷和社會(huì)環(huán)境對(duì)他創(chuàng)作的影響入手，結(jié)合后現(xiàn)代主義藝術(shù)理論，運(yùn)用量化分析、歸納總結(jié)、對(duì)比例證等方法，分析今敏動(dòng)畫電影中的敘事方法、鏡頭節(jié)奏和剪輯特色，對(duì)今敏動(dòng)畫鏡頭語言的藝術(shù)特征做全面的梳理，主要從動(dòng)畫鏡頭語言的“靜態(tài)構(gòu)成”和“動(dòng)態(tài)構(gòu)成”兩方面進(jìn)行研究。 論文共分為四章。 第一章為緒論，主要介紹有關(guān)今敏的國內(nèi)外研究狀況、本論文的研究目的和意義以及論文的主要研究內(nèi)容，課題相關(guān)概念的陳述。課題研究方法中的“鏡頭節(jié)奏量化分析法”屬本文原創(chuàng)，也是創(chuàng)新點(diǎn)之一。 第二章探討今敏動(dòng)畫風(fēng)格形成的原因，一方面，介紹今敏的生平和他的創(chuàng)作經(jīng)歷，根據(jù)今敏的成長經(jīng)歷分析其風(fēng)格形成的的主觀原因。另一方面，從日本古代自然審美的形成，和當(dāng)代日本動(dòng)畫影壇創(chuàng)作路線的角度，來研究今敏藝術(shù)風(fēng)格形成的客觀原因。 第三章從鏡頭語言的“靜態(tài)構(gòu)成”角度分析今敏動(dòng)畫電影的風(fēng)格特點(diǎn)，分別從構(gòu)圖、色彩和光線三部分，來探討鏡頭語言“靜態(tài)構(gòu)成”元素對(duì)動(dòng)畫敘事和情感表達(dá)的影響。 第四章從鏡頭語言的“動(dòng)態(tài)構(gòu)成”角度分析今敏動(dòng)畫電影的風(fēng)格特點(diǎn)，，分別從景別、角度、運(yùn)動(dòng)、蒙太奇語言和鏡頭節(jié)奏五部分，來探討鏡頭語言“動(dòng)態(tài)構(gòu)成”元素對(duì)動(dòng)畫敘事和情感表達(dá)的影響。 最后的結(jié)語與展望，闡述了論文研究所得結(jié)論：今敏的動(dòng)畫電影具有顯著的后現(xiàn)代主義特征，他在高雅與通俗、精英與大眾、傳統(tǒng)與流行之間找到了微妙的平衡，他將后現(xiàn)代藝術(shù)創(chuàng)作思想引入至動(dòng)畫創(chuàng)作中，在敘事上打破“元敘事”的時(shí)空結(jié)構(gòu)，并賦予動(dòng)畫鏡頭語言更深層次的思想內(nèi)涵。論文研究所用的“鏡頭節(jié)奏變化趨勢圖”量化研究方法，是具有實(shí)用性和可行性的全新研究方法，為今后動(dòng)畫電影鏡頭語言的研究語言提供了新的研究方法和標(biāo)準(zhǔn)。
[Abstract]:(Satoshi kon), an excellent Japanese animation director, has left behind only four animated films, a drama animation and a one-minute experimental animation in his 17 years in the field, to analyze the theme of the relationship between dreams and reality. The expression of "stream of consciousness" is famous. This paper begins with the influence of Jin Min's life history and social environment on his creation, combining with post-modernism art theory, using quantitative analysis, induction and summary, contrast examples and other methods to analyze the narration methods in Jin Min's animated films. This paper makes a comprehensive combing of the artistic features of the animation lens language from the two aspects of "static composition" and "dynamic composition" of the animation lens language. The thesis is divided into four chapters. The first chapter is the introduction, which mainly introduces the domestic and foreign research situation, the purpose and significance of this paper, the main research contents and the related concepts of the subject. The quantitative analysis of lens rhythm in the research method of this paper is original and one of the innovative points. The second chapter discusses the reasons for the formation of the animation style. On the one hand, it introduces his life and his creative experience, and analyzes the subjective reasons for the formation of his style according to his growing experience. On the other hand, from the perspective of the formation of Japanese ancient natural aesthetics and the creative route of contemporary Japanese animation film, the objective reasons for the formation of modern Japanese animation art style are studied. In the third chapter, from the angle of "static composition" of lens language, we analyze the style characteristics of modern animated film, and discuss the influence of "static constitution" element of lens language on animation narration and emotional expression from three parts of composition, color and light, respectively. Chapter four analyzes the stylistic features of this animated film from the angle of "dynamic composition" of lens language, which is divided into five parts: scene, angle, movement, montage language and lens rhythm. To explore the impact of lens language "dynamic composition" elements on animation narrative and emotional expression. Finally, the conclusion of the paper is expounded: the animated film of Jin Min has the characteristic of postmodernism, and he has found a delicate balance between elegance and popular, between elite and popular, between tradition and popularity. He introduced the postmodern artistic creation thought into the animation creation, broke the space and time structure of the "meta-narrative" in the narration, and endowed the animation lens language with the deeper ideological connotation. The quantitative research method of "shot Rhythm change trend Map", which is used in the thesis, is a new research method with practicability and feasibility, which provides a new research method and standard for the research language of animation film lens language in the future.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954
本文編號(hào)：2401821
[Abstract]:(Satoshi kon), an excellent Japanese animation director, has left behind only four animated films, a drama animation and a one-minute experimental animation in his 17 years in the field, to analyze the theme of the relationship between dreams and reality. The expression of "stream of consciousness" is famous. This paper begins with the influence of Jin Min's life history and social environment on his creation, combining with post-modernism art theory, using quantitative analysis, induction and summary, contrast examples and other methods to analyze the narration methods in Jin Min's animated films. This paper makes a comprehensive combing of the artistic features of the animation lens language from the two aspects of "static composition" and "dynamic composition" of the animation lens language. The thesis is divided into four chapters. The first chapter is the introduction, which mainly introduces the domestic and foreign research situation, the purpose and significance of this paper, the main research contents and the related concepts of the subject. The quantitative analysis of lens rhythm in the research method of this paper is original and one of the innovative points. The second chapter discusses the reasons for the formation of the animation style. On the one hand, it introduces his life and his creative experience, and analyzes the subjective reasons for the formation of his style according to his growing experience. On the other hand, from the perspective of the formation of Japanese ancient natural aesthetics and the creative route of contemporary Japanese animation film, the objective reasons for the formation of modern Japanese animation art style are studied. In the third chapter, from the angle of "static composition" of lens language, we analyze the style characteristics of modern animated film, and discuss the influence of "static constitution" element of lens language on animation narration and emotional expression from three parts of composition, color and light, respectively. Chapter four analyzes the stylistic features of this animated film from the angle of "dynamic composition" of lens language, which is divided into five parts: scene, angle, movement, montage language and lens rhythm. To explore the impact of lens language "dynamic composition" elements on animation narrative and emotional expression. Finally, the conclusion of the paper is expounded: the animated film of Jin Min has the characteristic of postmodernism, and he has found a delicate balance between elegance and popular, between elite and popular, between tradition and popularity. He introduced the postmodern artistic creation thought into the animation creation, broke the space and time structure of the "meta-narrative" in the narration, and endowed the animation lens language with the deeper ideological connotation. The quantitative research method of "shot Rhythm change trend Map", which is used in the thesis, is a new research method with practicability and feasibility, which provides a new research method and standard for the research language of animation film lens language in the future.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 邱敏;;從機(jī)械來看大友克洋動(dòng)畫電影中的精神世界[J];才智;2011年12期
2 彭俊;;今 敏動(dòng)畫的鏡頭語言分析(上)[J];影視制作;2010年03期
3 彭俊;;今 敏動(dòng)畫的鏡頭語言分析(下)[J];影視制作;2010年04期
4 聶欣如;;動(dòng)畫電影《紅辣椒》與精神分析[J];電影文學(xué);2009年21期
5 史鳳玉;;《千年女優(yōu)》:不變的情緣,永世的追逐[J];電影文學(xué);2010年18期
6 李春陽;李永生;;美學(xué)觀照下的中國動(dòng)畫電影[J];電影文學(xué);2010年20期
7 陸丹;;動(dòng)畫鏡頭畫面節(jié)奏的審美功能[J];電影評(píng)介;2010年08期
8 孫振濤;;淺析日本動(dòng)畫電影中的現(xiàn)代性反思[J];電影評(píng)介;2010年11期
9 陳留留;站在東京廢墟上的孩子——大友克洋[J];電影;2005年03期
10 白景晟;;談?wù)劽商娴陌l(fā)展[J];電影藝術(shù);1979年01期
本文編號(hào)：2401821
本文鏈接：http://www.lk138.cn/wenyilunwen/dianyingdianshilunwen/2401821.html
教材專著
