從敘事手法看實驗動畫的形式流變
發(fā)布時間：2018-09-01 18:17
【摘要】：中國當(dāng)代實驗動畫開始于20世紀(jì),于20世紀(jì)90年代迅速發(fā)展。經(jīng)濟(jì)全球化和信息全球化的趨勢為實驗動畫的創(chuàng)作提供了一個新的平臺。憑借全球語境和本土語境的優(yōu)勢,動畫制作者創(chuàng)造的作品,都具有大量的個體思想�；孟胄�、先鋒性和實驗性都是實驗動畫的特點,實驗動畫與動畫在一般敘事中的差異表現(xiàn)在使其具有明顯的非常規(guī)敘事或甚至沒有敘事。在目前的理論研究上還沒有關(guān)于他的具體定義,他是對傳統(tǒng)敘事手法的一種顛覆、一種實驗。本文所提到的無敘事,并不是不去講述故事,只是運用特殊的圖像切換,打破傳統(tǒng)常規(guī)的敘事理論和敘事手法,去表現(xiàn)故事的一種實驗動畫新形勢。動畫作品的敘事可以從麥茨提出的五個標(biāo)準(zhǔn)看,動畫的敘事手法與文學(xué)中的敘事學(xué)有相似之處,與電影中的符號學(xué)也有交叉,都是用觀眾看到的或聯(lián)想到的畫面去組成完整的話語,用特殊的敘事符號去講述時間、表達(dá)情感。不同之處在于實驗動畫在敘事手法上應(yīng)用了一種特殊的形式,它用某些圖形組成意象的形式去表達(dá)作者想表述的象征意義,這樣一來,既可以“表達(dá)情感”又可以“陳述世界”。去展示創(chuàng)作者的觀點和圖形信息,具有自己特有的敘事功能和敘事特征。研究動畫的敘事時間可以發(fā)現(xiàn),它突破了文學(xué)敘事中敘事學(xué)的復(fù)雜結(jié)構(gòu),創(chuàng)作者注重運用自己的設(shè)計的形象去重新構(gòu)造一個新的敘事時間,通過對時間的壓縮或拉長去表現(xiàn)唯美、幽默和夸張。研究動畫的敘事空間可以發(fā)現(xiàn),畫面中主要依靠圖形去構(gòu)成空間。點、線、面、甚至色彩或光影,都為創(chuàng)作者敘事提供了一些符號寓意和情感表達(dá),也可以在單一意象中敘述,與電影敘事中的場景中的多意象群、多視角的圖像場景,呈現(xiàn)出假定性與唯美性的特點和美感。從觀眾的直接觀影角度看,繪畫的外部空間以添加音效的方法展示,通過音效的加入對畫面產(chǎn)生新的層次的聯(lián)想,呈現(xiàn)不同形式的視覺空間,對作品某處情節(jié)進(jìn)行暗示、夸張?zhí)幚?這便是我們所說的敘事方式的新形式——音效敘事。本文共分為四部分,第一章緒論,明確選題背景、研究對象、研究內(nèi)容、研究目的和意義。第二章闡述了實驗動畫的概念、特征與分類,七種基本敘事方法及相關(guān)作品實例。第三章從大的宏觀視角去論述了敘事手法在實驗動畫中是如何應(yīng)用的,并具體闡述了多線性敘事、回憶敘事、環(huán)形結(jié)構(gòu)敘事、亂線性敘事和倒敘等七個敘事手法。第四章從微觀角度梳理了實驗動畫不同階段發(fā)展中不同表現(xiàn)形式以及對當(dāng)今實驗動畫的啟示。
[Abstract]:Chinese contemporary experimental animation began in the 20 th century and developed rapidly in the 1990 s. The trend of economic globalization and information globalization provides a new platform for the creation of experimental animation. With the advantage of global context and local context, the works created by animators have a large number of individual thoughts. Fantasy, vanguard and experiment are the characteristics of experimental animation. The difference between experimental animation and animation in general narration is that it has obvious unconventional narration or even no narrative. There is no specific definition of him in the current theoretical research, he is a subversion of the traditional narrative techniques, an experiment. The non-narrative mentioned in this paper is not to tell the story, but to use special image switching to break the traditional narrative theory and narrative technique, to express a new situation of experimental animation. The narration of animation works can be seen from the five standards put forward by Metz. The narrative techniques of animation are similar to narratology in literature and intersect with semiotics in movies. They are composed of the pictures seen or associated by the audience, and the special narrative symbols are used to describe the time and express the emotion. The difference is that the experimental animation uses a special form of narrative technique, which uses the form of some graphic image to express the symbolic meaning that the author wants to express. You can "express emotion" and "state the world". To show the author's views and graphic information, has its own unique narrative function and narrative characteristics. Studying the narrative time of animation can be found that it breaks through the complex structure of narratology in literary narration, and the creator pays attention to reconstructing a new narrative time by using his own design image. Show beauty, humor, and exaggeration by compressing or lengthening time. Studying the narrative space of animation can find that the picture mainly depends on graphics to form space. Dots, lines, surfaces, and even colors or shadows, all provide the creator's narrative with some symbolic implications and emotional expressions, and can also be narrated in a single image, with multiple image groups in the scene in film narration, and an image scene with multiple angles of view. It presents the characteristics of hypocrisy and aestheticism. From the point of view of the audience, the external space of painting is displayed by adding sound effects. Through the addition of sound effects, it produces a new level of association on the screen, presents different forms of visual space, and hints at a plot somewhere in the work. Exaggeration, this is what we call a new form of narrative-sound narrative. This paper is divided into four parts. The first chapter is introduction, which defines the background, object, content, purpose and significance of the research. The second chapter describes the concept, characteristics and classification of experimental animation, seven basic narrative methods and examples of related works. The third chapter discusses how to use narrative techniques in experimental animation from a macro perspective, and concretely expounds seven narrative techniques, such as multi-linear narrative, recall narrative, annular structure narrative, chaotic linear narrative and flashback. The fourth chapter combs the different manifestation forms of experimental animation in different stages from the micro angle and the enlightenment to the experimental animation today.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J954
本文編號：2217973
[Abstract]:Chinese contemporary experimental animation began in the 20 th century and developed rapidly in the 1990 s. The trend of economic globalization and information globalization provides a new platform for the creation of experimental animation. With the advantage of global context and local context, the works created by animators have a large number of individual thoughts. Fantasy, vanguard and experiment are the characteristics of experimental animation. The difference between experimental animation and animation in general narration is that it has obvious unconventional narration or even no narrative. There is no specific definition of him in the current theoretical research, he is a subversion of the traditional narrative techniques, an experiment. The non-narrative mentioned in this paper is not to tell the story, but to use special image switching to break the traditional narrative theory and narrative technique, to express a new situation of experimental animation. The narration of animation works can be seen from the five standards put forward by Metz. The narrative techniques of animation are similar to narratology in literature and intersect with semiotics in movies. They are composed of the pictures seen or associated by the audience, and the special narrative symbols are used to describe the time and express the emotion. The difference is that the experimental animation uses a special form of narrative technique, which uses the form of some graphic image to express the symbolic meaning that the author wants to express. You can "express emotion" and "state the world". To show the author's views and graphic information, has its own unique narrative function and narrative characteristics. Studying the narrative time of animation can be found that it breaks through the complex structure of narratology in literary narration, and the creator pays attention to reconstructing a new narrative time by using his own design image. Show beauty, humor, and exaggeration by compressing or lengthening time. Studying the narrative space of animation can find that the picture mainly depends on graphics to form space. Dots, lines, surfaces, and even colors or shadows, all provide the creator's narrative with some symbolic implications and emotional expressions, and can also be narrated in a single image, with multiple image groups in the scene in film narration, and an image scene with multiple angles of view. It presents the characteristics of hypocrisy and aestheticism. From the point of view of the audience, the external space of painting is displayed by adding sound effects. Through the addition of sound effects, it produces a new level of association on the screen, presents different forms of visual space, and hints at a plot somewhere in the work. Exaggeration, this is what we call a new form of narrative-sound narrative. This paper is divided into four parts. The first chapter is introduction, which defines the background, object, content, purpose and significance of the research. The second chapter describes the concept, characteristics and classification of experimental animation, seven basic narrative methods and examples of related works. The third chapter discusses how to use narrative techniques in experimental animation from a macro perspective, and concretely expounds seven narrative techniques, such as multi-linear narrative, recall narrative, annular structure narrative, chaotic linear narrative and flashback. The fourth chapter combs the different manifestation forms of experimental animation in different stages from the micro angle and the enlightenment to the experimental animation today.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J954
【參考文獻(xiàn)】
相關(guān)期刊論文 前7條
1 萬江;;現(xiàn)代性、日常生活與動漫亞文化的社會學(xué)考察[J];藝術(shù)百家;2014年05期
2 閻鵬飛;謝燕南;武筆;盛偉男;;淺論動漫衍生產(chǎn)品的特殊形式——動漫舞臺劇[J];現(xiàn)代交際;2013年01期
3 陳文敏;;當(dāng)下國內(nèi)ACG文化進(jìn)路解析[J];吉首大學(xué)學(xué)報(社會科學(xué)版);2012年02期
4 馬中紅;;新媒介與青年亞文化轉(zhuǎn)向[J];文藝研究;2010年12期
5 譚佳英;;動漫亞文化的文化體系[J];廣西民族大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2008年01期
6 侯毅凌;;珍奈特·溫特森:燈塔守望者之歌[J];外國文學(xué);2006年01期
7 申丹;;結(jié)構(gòu)與解構(gòu):評J.希利斯·米勒的“反敘事學(xué)”[J];歐美文學(xué)論叢;2004年00期
相關(guān)碩士學(xué)位論文 前3條
1 高學(xué)也;ACG亞文化在中國的傳播研究[D];東北師范大學(xué);2013年
2 孫煒煒;試論實驗影像藝術(shù)的表達(dá)方式[D];中央美術(shù)學(xué)院;2010年
3 朱軼靈;中國當(dāng)代實驗影像的夢幻性[D];南京藝術(shù)學(xué)院;2007年
，本文編號：2217973
本文鏈接：http://sikaile.net/wenyilunwen/dianyingdianshilunwen/2217973.html
教材專著
