本文選題：宮崎駿　切入點(diǎn)：動(dòng)畫(huà)電影　出處：《西南大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：宮崎駿動(dòng)畫(huà)電影中的孤兒,追求獨(dú)立與自由,勇于承擔(dān)使命�！讹L(fēng)之谷》、《幽靈公主》等作品的孤兒有著獻(xiàn)身精神,但他們積極樂(lè)觀。富有詩(shī)意的畫(huà)面為觀眾營(yíng)造了一個(gè)個(gè)豐富而有靈性的童話世界。通過(guò)文本分析和精神分析等研究方法,揭示了作品孤兒形象的內(nèi)涵。 在神道和萬(wàn)物有靈的思想上發(fā)展出了日本獨(dú)特的審美觀,這些審美觀影響了日本人對(duì)待自然和人類社會(huì)的方式。這種神話意象與宮崎駿動(dòng)畫(huà)中的東方神秘性有著千絲萬(wàn)縷的聯(lián)系。在人物分析中,孤兒形象可以在神話中找到原型,日神、月神和風(fēng)神的特質(zhì),在作品形象中有著對(duì)應(yīng)關(guān)系。在宮崎駿的成長(zhǎng)經(jīng)歷中,因?yàn)槟慷昧颂嗟膽?zhàn)爭(zhēng)悲劇,所以他的作品對(duì)這方面進(jìn)行了刻畫(huà)和反思。而母親的多病,父親忙于工作,這些都是促使他在動(dòng)畫(huà)中表現(xiàn)孤兒的原因之一。因?yàn)樗诂F(xiàn)實(shí)中的矛盾與本著對(duì)孩子負(fù)責(zé)的態(tài)度,用動(dòng)畫(huà)的大氣表現(xiàn)兒童的純真,是他堅(jiān)持的出發(fā)點(diǎn)。 在比較動(dòng)畫(huà)電影中的孤兒形象時(shí),選取了高煙勛、今敏和西維亞·喬邁三人的作品,分別從創(chuàng)作風(fēng)格、敘事風(fēng)格和作品意蘊(yùn)三個(gè)方面進(jìn)行分析。高uQ勛與宮崎駿同為吉卜力工作室的導(dǎo)演,比較他們?cè)谒茉旃聝盒蜗蠓矫娴漠愅@得很必要。今敏雖然比宮崎駿晚出生,但他英年早逝,留下的作品風(fēng)格與宮崎駿的也大不相同。西維亞·喬邁作為法國(guó)動(dòng)畫(huà)家,他的作品中對(duì)孤兒的把握與宮崎駿的更是迥異。宮崎駿動(dòng)畫(huà)電影中的孤兒形象,反映出他作品里獨(dú)特的美學(xué)意蘊(yùn),浪漫精神、主題統(tǒng)一和富有東方特質(zhì)的詩(shī)性,使得作品有著深刻的個(gè)人烙印。
[Abstract]:The orphans in MiyazakiHayao's animated films, who pursue independence and freedom, have the courage to undertake the mission. The orphans of the Valley of the Wind and Princess of the Ghost have a dedicated spirit. But they are positive and optimistic. The poetic picture has created a rich and spiritual fairy tale world for the audience. Through the research methods of text analysis and psychoanalysis, this paper reveals the connotation of the orphan image of the works. The unique Japanese aesthetic was developed in the Shinto and the animistic mind of all things. These aesthetics affect the way the Japanese treat nature and human society. This mythical image is inextricably linked to the oriental mystery of MiyazakiHayao's animation. In character analysis, orphaned images can be found in mythology. The characteristics of the Sun God, the Moon God and the Wind Spirit have a corresponding relationship in the image of the works. In MiyazakiHayao's growing up experience, because he witnessed too many war tragedies, his works depict and reflect on this aspect. Father is busy with his work, which is one of the reasons why he shows orphans in animation, because his contradiction in reality and his attitude of being responsible to his children, using the atmosphere of animation to show the innocence of children is the starting point of his persistence. In comparing the orphaned images in animated films, we selected the works of Gao Yanxun, Hyumin and Sylvia Jomai, respectively, from the creative style. The narrative style and the meaning of the work are analyzed in three aspects. Gao UQ Hoon and MiyazakiHayao are both directors of Studio Ghibli, and it is necessary to compare their similarities and differences in shaping the image of orphans. Although Jin Min was born later than MiyazakiHayao, But he died young and left a very different style of work than MiyazakiHayao's. As a French animator, he had a very different grasp of orphans than MiyazakiHayao's. It reflects the unique aesthetic meaning, romantic spirit, unity of theme and poetic character of oriental characteristics in his works, which makes his works have profound personal imprint.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J901;J905

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本文編號(hào)：1635691