動(dòng)畫論文外文翻譯

1、<p><b>　　外文文獻(xiàn)翻譯</b></p><p>　　2.5.1譯文：看電影的藝術(shù)</p><p>　　1930年代中期，沃爾特·迪斯尼才明確以動(dòng)畫電影娛樂觀眾的思想，動(dòng)畫片本身才成為放映主角（不再是其他劇情片的搭配）。于1937年下半年首映的動(dòng)畫片《白雪公主與七個(gè)小矮人》為動(dòng)畫片樹立了極高的標(biāo)準(zhǔn)，至今任然指導(dǎo)著動(dòng)畫藝術(shù)家們。1940年，這

2、一年作為迪斯尼制片廠的分水嶺，誕生了《木偶奇遇記》和《幻想曲>。這些今天成為經(jīng)典的作品在接下來的二十年中被追隨效仿，產(chǎn)生了一系列廣受歡迎的動(dòng)畫娛樂作品。包括《小飛象》，《灰姑娘》，《愛麗絲漫游仙境》，《彼得·潘》，《小姐與流浪兒》，他們的故事通常源自廣為人知的文學(xué)故事。這些影片最不好的地方在于它們似乎越來越面向小觀眾。</p><p>　　在1966年第四你去死后，他的制片廠繼續(xù)制作手繪動(dòng)畫影片，

3、但是創(chuàng)作能量衰減，公司轉(zhuǎn)而專注于著作真人是拍電影。然而1989年，對(duì)于我們所有孩子來說，動(dòng)畫《小美人魚》賦予了迪士尼新的生命活力（就像animation這個(gè)詞本身的定義一樣——使有生命活力），從該片開始，出現(xiàn)了一系列令人驚嘆不已的音樂動(dòng)畫片。兩年后，《美女與野獸》問世，塔爾在制作過程中利用了計(jì)算機(jī)作為傳統(tǒng)手繪技術(shù)的輔助手段，這部影片獲得了奧斯卡最佳電影獎(jiǎng)提名，它是第一部獲此殊榮的動(dòng)畫片。更好的還在后面，就想著兩部影片一樣，后面緊接著出現(xiàn)

4、的眾多優(yōu)秀作品——包括《獅子王》，《阿拉丁》，《花木蘭》——延續(xù)了迪士尼的經(jīng)典傳統(tǒng)：大膽醒目的視覺效果、精致的劇本，以及我們?cè)谒袀ゴ蟮碾娪爸校还苁莿?dòng)畫還是其他類型中都能找到的普適性主題和出乎意料之處。迪士尼的新版《幻想曲》，又被稱為《幻想曲2000》，把原版中的部分片段與新的創(chuàng)作部分糅合在一起。（而且，按照迪士尼管理層的說法，該片是首部在IMAX巨幕影院首映的劇情長(zhǎng)片。）</p><p>　　亨利·

5、塞利克執(zhí)導(dǎo)了蒂姆·波頓出品的兩部影片，即《圣誕驚魂夜》和《飛天巨桃歷險(xiǎn)記》——前者是一部完全原創(chuàng)的定格動(dòng)畫，影片畫面有時(shí)滲透著無限的恐懼，后者改編自羅納德·達(dá)爾的暢銷兒童書，該影片以真人實(shí)景拍攝開始?！讹w天巨桃歷險(xiǎn)記》對(duì)暴力畫面和重大恐懼（比如說，離棄）的表達(dá)和處理毫無掩飾，表達(dá)的真實(shí)感受對(duì)成人來說和對(duì)兒童一樣生動(dòng)鮮明，而蒂姆·波頓的影片《僵尸新娘》，僅僅從名字上就已經(jīng)顯示出影片內(nèi)容和該幽默表達(dá)的“成人”特

6、征。</p><p>　　喬治·米勒?qǐng)?zhí)導(dǎo)的可愛的《小豬寶貝》，曾被提名為奧斯卡最佳影片獎(jiǎng)，受到評(píng)論界的贊譽(yù)，票房卻不理想，更少有人看其續(xù)集《小豬寶貝：小豬進(jìn)城》前后兩部都混合了真人實(shí)拍、玩偶以及計(jì)算機(jī)動(dòng)畫。公眾對(duì)《小豬進(jìn)城》中各種動(dòng)物卷入其中的滑稽暴力場(chǎng)面的反應(yīng)，讓人確定影片為數(shù)不多的觀眾的主體極可能是成人，而不是兒童。</p><p>　　很多現(xiàn)代動(dòng)畫劇情長(zhǎng)片，在一定程度上都有

7、黑色（有時(shí)甚至是毛骨悚然的）幽默特征，類似的“成人”娛樂成了新近出現(xiàn)的第三類動(dòng)畫劇情片的主打要素。這一類動(dòng)畫片完全由計(jì)算機(jī)技術(shù)一點(diǎn)一點(diǎn)地生成，通常這個(gè)過程基本綜合手繪圖像的動(dòng)作平滑特性和定格動(dòng)畫玩偶的表面可塑性。第一批此類動(dòng)畫片是1955年上映的《玩具總動(dòng)員》，由約翰·拉塞特為他的皮克斯動(dòng)畫工廠執(zhí)導(dǎo)，這正是一直以來我們希望在兒童影片看到的。但是影片也出現(xiàn)了一些鏡頭，在鏡頭中，一個(gè)小孩在玩玩具，將他們拆毀并重新組裝成丑陋可怕的新

8、形勢(shì)。它出色的《玩具總動(dòng)員2》進(jìn)一步表明了影片創(chuàng)作者對(duì)表現(xiàn)人性更陰暗一面的興趣。皮克斯（現(xiàn)在已被迪斯尼公司擁有）也曾制作過《怪物公司》，影片中可愛的怪獸對(duì)兒童具有很大的吸引力，然而影片具有的諷刺式幽默明顯地面向成年人。皮克斯還制作了其他類似的動(dòng)畫片，包括《海底總動(dòng)員》、《超人總動(dòng)員》和2006年的《汽車總動(dòng)員》，在山野票房上與電影評(píng)價(jià)界都獲得了巨大的成功。</p><p>　　最后，如果要尋找現(xiàn)代動(dòng)畫劇情片正在開

9、發(fā)成人作為其主要觀眾的證據(jù)，我們只需去看一下《埃及王子》。這部影片以世界上最具原型性的神話敘事之一（更不必說它還是猶太教和基督教共有的圣典）作為它的表現(xiàn)主題，除此之外，影片還利用相當(dāng)風(fēng)格化和復(fù)雜巧妙的視覺模式來表現(xiàn)莫西領(lǐng)導(dǎo)下的眾多人物形象。不僅如此，有史蒂文·凱特辛蓓閣和大衛(wèi)·格芬組成的夢(mèng)工廠創(chuàng)作團(tuán)隊(duì)斷然拒絕授權(quán)生產(chǎn)任何與影片相關(guān)的迷你玩具，或者將產(chǎn)品廣告語(yǔ)快餐連鎖店捆綁發(fā)布，從這一點(diǎn)上，我們馬上意識(shí)到動(dòng)畫劇情偏成熟

10、了。凱特辛蓓閣這樣概括他們的主張：“我們盡量不妥協(xié)——不在電影里創(chuàng)作可愛的角色，換覺話說，我們不想讓一頭駱駝變得好玩?！?lt;/p><p>　　影評(píng)家查理德·考利斯形容《埃及王子》是“一次偉大的實(shí)驗(yàn)，一次動(dòng)畫片領(lǐng)域的十字軍圣戰(zhàn)運(yùn)動(dòng)，突破了阻礙劇情動(dòng)畫片發(fā)展的狹窄局限”。羅杰·艾爾伯特則將該影片看做在動(dòng)畫創(chuàng)作目的、創(chuàng)作領(lǐng)域和藝術(shù)成就方面具有革命性意義的作品予以熱烈追捧。</p>&l

11、t;p>　　約瑟夫·M.博格斯 丹尼斯·w.皮特里 《看電影的藝術(shù)》 2006.12</p><p>　　2.5.2原文：The art of watching films</p><p>　　mid-1930s that Walt Disney became obsessed with the idea of entertaining viewers wit

12、h animated films that were themselves the main show. Premiering in late 1937, Disney's Snow White and the Seven Dwarfs set rigorously high standards that today still guide animation artists. Like the puppet shows fro

13、m which they evolved, the Disney studio's watershed year of 1940, both animated films have long been seriously em-Pinocchio and Fantasia appeared. These now braced by the world of international art. I</p><

14、p>　　After Disney's death in 1966, his studio conduced an illusion of movement . 14tinued to make drawn animated films, but the creative energy lessened, and the company's.</p><p>　　Later in the ni

15、neteenth century, the illu-focus shifted to producing live-action films. Sions produced through these simple drawings Then, for the child in all of us again, Disney an-of early animation developed into those of still ima

16、tion was given new life (as the word anima-photographs being manipulated swiftly, either tion itself is defined) in 1989 by The Little mechanically or via projection. As the cinema Merniaid, which led an astonishing stri

17、ng of new progressed along more or less reali</p><p>　　Henry Selick directed both Tim Burton's The Nightmare Before Christmas and James and the Giant Peach—the former a stop-action film that is wholly or

18、iginal and sometimes immensely frightening in its images, the latter an adaptation of Roald Dahl's popular children's book that begins in live action and segues impressively into stop-action animation before retu

19、rning to live action at its end. James and the Giant Peach pulls no punches with its presentation of violence and its treatment of monumenta</p><p>　　George Miller's charming Babe (1995), nominated for a

20、 Best Picture Oscar, and its critically acclaimed, poorly released, and little-seen sequel, Babe: Pig inthe City (1998), both combine live action, puppets (in the form of intricate ani-matronic devices), and computer ani

21、mation. Public reaction to the comic violence involving animals in Pig in the City ensured that its small and primary audience would most likely be adults, not children.</p><p>　　Throughout many modern anima

22、tion features, a certain dark, sometimes even macabre, humor abides. A similar "adult" amusement has also become a staple in the third and latest type of animated feature film, which is generated solely by art

23、filtered through computer technology. This process often appears almost to synthesize tlie smooth movement of drawn images and the plastic surfaces of stop-motion puppets. The first such film, 1995's Toy Story, direc

24、ted by John Lasseter for his Pixar studio, con</p><p>　　Finally, if we seek proof that contemporary animated feature films now invite adults to be a major part of their audience, we need only turn to The Pri

25、nceofEgypt, (Figure 5 .42). Here is a movie that takes as its subject one of the most archetypal narratives of world myth (not to mentionJudeo-Christian scripture) and, in addition, envisions its Moses-led characters thr

26、ough immensely stylized and sophisticated visual modes (including elongated El Greco faces). Further, we immediately recognized t</p><p>　　Film reviewer Richard Corliss described The Prince of Egypt as "

27、;a grand experiment, a crusade to expand the frustratingly narrow boundaries of feature animation."!? And Roger Ebert welcomed the film as revolutionary in its aim, scope, and artistic achievements.</p><p