本文選題：動(dòng)畫 + 今敏��； 參考：《山西師范大學(xué)》2017年碩士論文

【摘要】：日本動(dòng)畫導(dǎo)演今敏是一位擅長(zhǎng)于創(chuàng)設(shè)夢(mèng)境、表現(xiàn)角色復(fù)雜精神層面、具有超現(xiàn)實(shí)主義精神的“非主流”動(dòng)畫導(dǎo)演。他作為動(dòng)畫導(dǎo)演共創(chuàng)作了五部動(dòng)畫作品,其中四部動(dòng)畫電影,一部電視動(dòng)畫劇。今敏的作品中可窺見精神分析理論的影子,且深受意識(shí)流電影的影響,常以抽象的精神世界為著眼點(diǎn),立足于描繪人類深不可測(cè)的意識(shí)領(lǐng)域,多用奇特、變幻的個(gè)人化鏡像語言為表現(xiàn)形式,賦予故事強(qiáng)烈的戲劇張力,懸念迭生。本研究主要以日本動(dòng)畫大師今敏生前監(jiān)督制作的五部動(dòng)畫作品為研究對(duì)象,依據(jù)精神分析法相關(guān)理論,從角色人格分析、視聽語言、敘事手法等方面解讀今敏作品中的夢(mèng)境和意識(shí)幻境元素。今敏最初從事漫畫創(chuàng)作,出版過幾部漫畫作品,后師從日本動(dòng)畫大師大友克洋。作為日本新一代動(dòng)畫導(dǎo)演,今敏繼承了前輩們動(dòng)畫創(chuàng)作的思想性,作品又極具個(gè)人風(fēng)格,在日本動(dòng)畫界起到了承前啟后的作用。他擁有豐富的閱片量,并善于學(xué)習(xí)電影的視聽技巧,這是他的作品中充滿電影感的重要原因。電影與夢(mèng)有著天然的相似,通過梳理電影史上的夢(mèng)境電影,總結(jié)不同時(shí)代、流派的夢(mèng)境電影風(fēng)格及特征。反觀今敏的夢(mèng)境電影特色可知:今敏的動(dòng)畫作品從內(nèi)容到框架都是夢(mèng)幻式的。他擅于運(yùn)用自己對(duì)夢(mèng)的經(jīng)驗(yàn)來結(jié)構(gòu)電影,試圖用夢(mèng)境、白日夢(mèng)、幻想等一系列鏡頭語言,輔以夢(mèng)境的相關(guān)理念和造夢(mèng)機(jī)制講述故事,從而達(dá)到隱喻社會(huì)和哲學(xué)等方面的深層次含義。今敏的動(dòng)畫作品不僅受前人影響,還具有超前的引領(lǐng)作用,對(duì)不少好萊塢大導(dǎo)演的創(chuàng)作產(chǎn)生過重要影響。在今敏的動(dòng)畫作品中,夢(mèng)境和意識(shí)幻境占有很大的比重,對(duì)夢(mèng)境和意識(shí)幻境的刻畫可以有力的反映出角色在壓力和人格矛盾中的精神危機(jī)和內(nèi)心掙扎。運(yùn)用精神分析法相關(guān)理論,對(duì)今敏作品中的幾位主要角色進(jìn)行人格解析,分析其角色人格矛盾沖突的深層原因。并通過對(duì)夢(mèng)境案例的分析,來解析人物的夢(mèng)境與潛意識(shí)關(guān)系。今敏的動(dòng)畫作品時(shí)空自由灑練,虛實(shí)交錯(cuò),人物常常在現(xiàn)實(shí)、夢(mèng)境和幻覺中穿梭,影片的敘述有強(qiáng)烈的“意識(shí)流”風(fēng)格。通過對(duì)今敏作品中的敘事策略、藝術(shù)表現(xiàn)手法進(jìn)行分析,解讀今敏動(dòng)畫作品的敘事特征和藝術(shù)風(fēng)格,認(rèn)識(shí)今敏作品所蘊(yùn)含的獨(dú)特藝術(shù)表現(xiàn)力。獨(dú)具個(gè)人風(fēng)格的夢(mèng)境元素貫穿在今敏作品的方方面面,意識(shí)與潛意識(shí)的交織影響、現(xiàn)實(shí)與夢(mèng)幻的糾纏相融,給觀眾帶來冒險(xiǎn)般的奇妙視聽感受,留下無盡的回味與思索空間。研究今敏及其動(dòng)畫,對(duì)于拓寬我國(guó)動(dòng)畫及電影的創(chuàng)作思路、深化動(dòng)畫及電影創(chuàng)作的藝術(shù)表現(xiàn)手法、刻畫人物的精神世界都有非常大的幫助。
[Abstract]:Japanese animation director Kenmin is a "non-mainstream" animation director who is good at creating dreams, representing complex spiritual level of characters and surreal spirit.As an animation director, he created five animated works, including four animated films and a television animation play.In his works one can see the shadow of psychoanalysis theory, and deeply influenced by stream of consciousness movies, often focusing on the abstract spiritual world, based on depicting the unfathomable realm of human consciousness.The changing personal mirror language is the form of expression, which endows the story with strong drama tension and suspense.This study mainly focuses on five animations produced by Japanese animation guru Hyon Min before his death. According to the theory of psychoanalysis, the author analyzes the personality of the characters, audiovisual language, and so on.Narrative techniques and other aspects of the interpretation of the works of dream and consciousness fantasy elements.Hyun-min initially engaged in comic creation, published several comic books, after the Japanese animation master Dayouke Yang.As a new generation of Japanese animation director, Gimin inherits the ideological content of his predecessors' animation creation, and his works have a very personal style, which plays a role of connecting the past and the future in the field of Japanese animation.He has a lot of reading, and is good at learning the audiovisual skills of films, which is an important reason for the film sense in his works.The film and dream have the natural similarity, through combing the dream movie in the film history, summarizes the different times, the school dream movie style and the characteristic.On the other hand, we can see that the animation works are dreamlike from the content to the frame.He is good at structuring movies using his experience in dreams, trying to tell stories with dream, daydream, fantasy, and a series of lens language, supplemented by dream related concepts and dream making mechanisms.In order to achieve metaphorical social and philosophical aspects of the deep meaning.Jin Min's animation works are not only influenced by predecessors, but also have a leading role, which has had an important influence on the creation of many Hollywood directors.In the animation works of Jin Min, dream and consciousness fantasy occupy a large proportion. The portrayal of dream and consciousness fantasy can reflect the spiritual crisis and inner struggle of the character in the stress and personality contradiction.Based on the theory of psychoanalysis, this paper analyzes the personality of several main characters in Jin Min's works, and analyzes the deep causes of the conflict of their characters' personality.And through the analysis of dream cases, to analyze the relationship between the dream and the subconscious.Jin Min's animated works are freely practiced in time and space, with reality and reality crisscrossing, characters often shuttling through reality, dreams and hallucinations. The narration of the film has a strong "stream of consciousness" style.Through the analysis of the narrative strategy and artistic expression techniques in the works, this paper interprets the narrative characteristics and artistic style of the animation works, and recognizes the unique artistic expressive power contained in the works.The dream element with individual style runs through every aspect of his works, the intertwined influence of consciousness and subconscious, the entanglement of reality and dream, brings the audience a wonderful audio-visual feeling of adventure, leaving endless aftertaste and thinking space.The study of Jin Min and his animation is of great help to broaden the creative thinking of animation and film in our country, deepen the artistic expression of animation and film creation, and depict the spiritual world of characters.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J954

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