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Animation-An Interdisciplinary Journal最新文献

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Book review: The Animation Studies Reader 书评:动画研究读本
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-07-01 DOI: 10.1177/1746847720937444
Eddie Falvey
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引用次数: 0
Book review: Norman McLaren: Between the Frames 书评:Norman McLaren: Between the Frames
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-07-01 DOI: 10.1177/1746847720937445
Myria Christophini
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引用次数: 0
Making Sense of Complex Narration in Perfect Blue 解读《完美之蓝》的复杂叙事
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-03-01 DOI: 10.1177/1746847719898784
Antonio Loriguillo-López, J. A. Palao-Errando, J. Marzal-Felici
Although identified as a feature of the film by both critics and researchers, the narrative complexity of Perfect Blue (Satoshi Kon, Madhouse, 1997) has been ambiguously defined. In this article, the authors examine the complex narration in Kon’s first feature film, equivocal and obscure in its more confusing points, through a narratological analysis of the film’s most ambiguous scenes. Using cognitive film theory as introduced by David Bordwell and Edward Branigan, they link its approach in terms of the modulation of information flow throughout the film – high knowledgeability, high self-consciousness and (occasionally) low communicativeness – with the conventions of the slasher genre. Their analysis of the more perplexing scenes in Perfect Blue is reinforced by monitoring the veiled changes of focalization between the film’s three focalizers: Mima, Uchida (aka Me-Mania) and Rumi. In order to do this, they explore how the narration – in the tradition of contemporary puzzle films – makes use of judgements, preconceptions and cognitive illusions in the spectators’ activity to conceal Rumi’s involvement in the persecution of Mima and the murders committed. In the conclusion, they associate the film’s complex narration with its critical commentary on the representation of Japanese pop idols (and former idols) and the state of audiovisual entertainment in Japan.
尽管评论家和研究人员都认为《完美的蓝色》是电影的一个特点,但《完美的蓝色》(今敏,《疯人院》,1997)的叙事复杂性一直被模糊地定义。在这篇文章中,作者通过对电影中最模糊的场景的叙事学分析,研究了今敏第一部故事片中复杂的叙事,在更令人困惑的地方模棱两可和模糊。利用大卫·博德威尔和爱德华·布莱尼根提出的认知电影理论,他们将整部电影中信息流动的调节方式——高知识性、高自我意识和(偶尔)低交流性——与恐怖片类型的惯例联系起来。他们对《完美蓝色》中更令人困惑的场景的分析,通过监测影片中三个聚焦器:美马、内田(又名Me-Mania)和鲁美之间聚焦的隐蔽性变化,得到了加强。为了做到这一点,他们探索了叙事如何——在当代益智电影的传统中——利用观众活动中的判断、先入为主和认知错觉来掩盖鲁米参与迫害米玛和谋杀的事实。在结论中,他们将电影的复杂叙事与对日本流行偶像(和前偶像)的代表性和日本视听娱乐状况的批判性评论联系起来。
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引用次数: 2
Book review: Pervasive Animation 书评:无处不在的动画
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-03-01 DOI: 10.1177/1746847719900456
Andrew Buchanan
Animation studies seems not to shy away from disciplinary identity inquiries, driven perhaps, at least peripherally, by the rapid developments in its technology, practices, industry and evolutions as a medium of expression throughout its history, and perhaps more centrally by its expansion as a discipline of academic inquiry in more recent history. Of note in this ongoing discussion is the question of categorizing animation (and animation studies) in relation to film (and film studies) evident in Alan Cholodenko’s ‘The Animation of Cinema’ (2008), Donald Crafton’s ‘Veiled Genealogies of Animation and Cinema’ (2011) and Karen Beckman’s Animating Film Theory (2014). Animation studies maintains somewhat similar relationships with media studies, visual arts, and newer fields, including the study of games and emerging interactive technologies. Unlike other artforms or creative media that may be defined by a discrete set of materials or practices, animation is defined by an exceptionally broad phenomenon – the ‘breathing into’ of life: the perception of mobility and motion. Questions about how to define and contextualize the study of animation as artefact, practice and cultural phenomenon are ongoing concerns. In Pervasive Animation, Suzanne Buchan notes the peculiar homonymic stance of ‘animation’, which exists both as technology and as artistic medium. The premise of this collection is to embrace the heterogeneity of animation, and present a corpus of positions that collectively contends that there is more to animation studies than intra-disciplinary concerns, that animation offers a fundamental access point into moving image culture at large. It both adopts theories and practices from other fields, and carries its conceptual concerns back into the world. The collection of chapters covers a range of topics and theoretical approaches. Alongside the expected considerations of animation craft, technology, materiality and history, there is a rich vein of animation philosophy. As is typical of edited collections of this quality, the heavy lifting of providing an overview of the chapters and the theoretical rivers that flow through them is amply provided in Buchan’s introduction that highlights the stated strategy of the AFI Film Readers collection: to embrace the plurality of approaches across related disciplines. The volume is organized into five sections: Mechanics and Magic; Material Culture; Life and Non-life; History, Documentary and Truth; and finally, Display, Process and Practice. There is something of a conundrum in segmenting the contributions within the theoretical proposition that animation is ‘pervasive’. 900456 ANM0010.1177/1746847719900456animation: an interdisciplinary journalBook review book-review2019
动画研究似乎并不回避学科身份调查,这可能是由其技术、实践、行业的快速发展以及在其历史上作为表达媒介的演变所驱动的,至少是次要的,也许更集中的是由其在近代史上作为学术调查学科的扩展所驱动的。在这场正在进行的讨论中,值得注意的是,将动画(和动画研究)与电影(和电影研究)进行分类的问题,这一点在Alan Cholodenko的《电影动画》(2008)、Donald Crafton的《动画与电影的面纱谱系》(2011)和Karen Beckman的《动画电影理论》(2014)中都很明显。动画研究与媒体研究、视觉艺术和新领域保持着某种相似的关系,包括游戏和新兴互动技术的研究。与其他可能由一组离散的材料或实践定义的艺术形式或创意媒体不同,动画是由一种异常广泛的现象定义的——对生命的“呼吸”:对流动和运动的感知。关于如何将动画研究定义为人工制品、实践和文化现象并将其情境化的问题一直是人们关注的问题。在《普及动画》中,苏珊娜·布坎指出了“动画”的独特谐音立场,它既作为技术存在,又作为艺术媒介存在。本系列的前提是接受动画的异质性,并提出一系列立场,共同认为动画研究比学科内部的关注更多,动画为整个运动图像文化提供了一个基本的切入点。它既采用了其他领域的理论和实践,又将其概念关注带回了世界。章节集涵盖了一系列的主题和理论方法。除了对动画工艺、技术、物质性和历史的预期考虑之外,还有丰富的动画哲学脉络。正如这种质量的编辑集的典型情况一样,Buchan的引言充分强调了AFI电影读者集的既定战略:在相关学科中采用多种方法。该卷分为五个部分:力学和魔术;物质文化;生命与非生命;历史、纪录片与真相;最后,展示、过程和实践。在动画“无处不在”的理论命题中,对贡献进行细分是一个难题。900456 ANM0010.1177/176847719900456动画:跨学科期刊书评2019
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引用次数: 0
The Golden Age of Spanish Animation (1939–1951) 西班牙动画的黄金时代(1939–1951)
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-03-01 DOI: 10.1177/1746847719898851
Maria Pagès
During the 1940s, the Spanish animation industry based in Barcelona reached a high technical level. Despite the Franco dictatorship and austerity following the Spanish Civil War, the Catalan animation industry produced feature-length films that bore comparison with those made elsewhere in Europe. This article looks at the reasons for and the nature of Barcelona’s Golden Age of Animation, and follows the steps on the industry’s path to technical mastery. The author revisits the history of the Spanish Golden Age of Animation (which lasted from 1939 to 1951) in the context of the international animation scene at the time.
在20世纪40年代,以巴塞罗那为基地的西班牙动画产业达到了很高的技术水平。尽管佛朗哥独裁统治和西班牙内战后的紧缩政策,加泰罗尼亚的动画产业还是制作出了可以与欧洲其他地方相比的长篇电影。本文着眼于巴塞罗那动画黄金时代的原因和本质,并遵循该行业走向技术精通的步骤。作者在当时的国际动画场景的背景下重新审视了西班牙动画黄金时代(从1939年持续到1951年)的历史。
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引用次数: 2
Editorial 编辑
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-03-01 DOI: 10.1177/1746847720909562
Suzanne H. Buchan
We are always a year older than our birth year on the day of our birth. Fifteen years ago, the inaugural issue of animation: an interdisciplinary journal was delivered to our long-serving copyeditor, Jane Price, at the Sage London offices in Old Street. It was transported in a carefully arranged set of folders using the technology of that time, a far cry from today’s instant uploads and file transfers: all materials were compiled on CDs accompanied by a stack of printouts in case the data was corrupted or unreadable – not unusual in the day. The issue’s content reflected our global and interdisciplinary aims, with articles examining chronophotography, animated architecture, multiplane cinema, South Korean Animation, speculation on animation as a hybrid form, and the application of psychoanalytic theory to Japanese anime. The Editorial team included Suzanne Buchan, Bob Rehak and Angela Ndalianis, who, along with the many supporters and the initial Editorial Board members, contributed significantly to the journal’s development and launch. Fifteen years on, the journal’s editorial aims remain largely the same:
在我们出生的那天,我们总是比我们的出生年份大一岁。15年前,《动画:一份跨学科期刊》的创刊号送到了我们在老街Sage London办公室长期任职的编辑简·普莱斯(Jane Price)手中。它是用当时的技术在一组精心安排的文件夹中传输的,与今天的即时上传和文件传输相距甚远:所有材料都被编译在cd上,并伴随着一堆打印输出,以防数据损坏或不可读——这在当时并不罕见。这期的内容反映了我们的全球性和跨学科的目标,文章探讨了时间摄影,动画建筑,多平面电影,韩国动画,对动画作为混合形式的猜测,以及精神分析理论在日本动画中的应用。编辑团队包括Suzanne Buchan, Bob Rehak和Angela Ndalianis,他们与许多支持者和最初的编辑委员会成员一起,为期刊的发展和发行做出了重大贡献。15年过去了,该杂志的编辑目标基本保持不变:
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引用次数: 0
Phytograms: Rebuilding Human–Plant Affiliations 植物图:重建人类与植物的关系
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-03-01 DOI: 10.1177/1746847720909348
Karel Doing
This article proposes the phytogram, an image made by using the internal chemistry of plants in conjunction with photographic emulsion. First, a theoretical framework is set out, drawing inspiration from structural/materialist film theory, biosemiotics and perspectivism. The notion of plant sensations/perceptions is questioned, developing the real possibility of human–plant communication. Subsequently, a summary of the materials and methods involved in making phytograms is included in order to show how an inter-dependency of technological and natural elements can lead to evocative results and spontaneous animation. Instead of bringing inert matter to life, the image moves by itself. This practice can bring people together, sharing knowledge about their environment while enjoying the cohesion of a wider community and history of people and plants. Making such an extended community visible is significant with regard to a heightened awareness of the natural environment. Instead of preaching ecological propriety and austere behaviour, phytography offers a positive and fulfilling engagement with our living environment.
本文提出了利用植物内部化学成分与感光乳剂相结合而制成的植物图。首先,从结构/唯物主义电影理论、生物符号学和透视主义中汲取灵感,构建了一个理论框架。植物感觉/知觉的概念受到质疑,发展了人类与植物交流的真正可能性。随后,对制作植物图所涉及的材料和方法进行了总结,以展示技术和自然元素如何相互依赖,从而产生令人回味的结果和自发的动画。而不是把惰性物质赋予生命,图像自己移动。这种做法可以将人们聚集在一起,分享有关环境的知识,同时享受更广泛社区的凝聚力以及人和植物的历史。使这样一个扩展的社区可见,对于提高对自然环境的认识具有重要意义。植物摄影不是宣扬生态礼仪和严格的行为,而是为我们的生活环境提供了积极和充实的参与。
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引用次数: 3
Animating Management: Nonlinear Simulation and Management Theory at Pixar 动画管理:皮克斯的非线性模拟和管理理论
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-03-01 DOI: 10.1177/1746847719898783
Jordan Gowanlock
Existing scholarship finds that early industrialized animation studios sought to emphasize the unpredictable liveliness of creativity at their studios, while also demonstrating their ability to control and manage production through industrial management techniques that promoted regulation and efficiency. This article examines how this dynamic between unpredictability and control has been negotiated by digital animation studios since the early 1980s, with a focus on the way Pixar Animation Studios represents its management theory through popular books, business journal articles, DVD extras, and behind-the-scenes promotional material. This article highlights how computational principles for creating and managing unpredictability via nonlinear simulation inform Pixar’s promoted management theory. The principles of simulated unpredictability ground many of Pixar’s key technological advances, especially for animating fluids and materials (water, smoke, fur, and cloth), but they also ground concepts within the field of management science such as industrial dynamics and organizational resilience. This epistemic frame leads Pixar to represent creativity as the unpredictable product of carefully controlled conditions and parameters and this collapse of technology, animation, and management helps to sculpt Pixar’s own corporate image as both an animation studio and technology company. The research in this article offers contributions to the study of both post-Fordism in animation industries and algorithmic control.
现有的研究发现,早期工业化的动画工作室试图强调其工作室不可预测的创造力,同时也通过促进监管和效率的工业管理技术来展示他们控制和管理生产的能力。本文探讨了自20世纪80年代初以来,数字动画工作室是如何协商这种不可预测性和控制性之间的动态的,重点是皮克斯动画工作室通过流行书籍、商业期刊文章、DVD临时片和幕后宣传材料来表达其管理理论的方式。本文重点介绍了通过非线性模拟创建和管理不可预测性的计算原理如何为皮克斯推广的管理理论提供信息。模拟不可预测性的原理奠定了皮克斯许多关键技术进步的基础,尤其是在制作流体和材料(水、烟、毛皮和布)的动画方面,但它们也奠定了管理科学领域的概念,如工业动力学和组织弹性。这种认识框架使皮克斯将创造力表现为精心控制的条件和参数的不可预测的产品,而这种技术、动画和管理的崩溃有助于塑造皮克斯作为动画工作室和科技公司的企业形象。本文的研究为后福特主义在动画产业和算法控制方面的研究做出了贡献。
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引用次数: 2
Reanimating the Dark Knight: Superheroes, Animation and the Critical Reception of The Lego Batman Movie 复活黑暗骑士:超级英雄、动画与乐高蝙蝠侠电影的批判性接受
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-03-01 DOI: 10.1177/1746847719898785
Daniel Martin
This article explores the critical reception of The Lego Batman Movie (Chris McKay, 2017) in the context of Batman’s long history of multimedia storytelling, anchored to divergent parallel narratives across numerous platforms, and the ways the film appeals to nostalgia through metatextuality. The manner in which critics championed The Lego Batman Movie and derided the earlier live-action Batman v Superman: Dawn of Justice (Zack Snyder, 2016) gave rise to a complex discourse around the cultural value of animation and the larger blockbuster superhero cycle, and discussions of morality, merchandising and commercialism. This article therefore engages with questions of animation’s apparent suitability for particular kinds of child-centric narratives regarded by critics as a vital part of American popular culture.
本文探讨了《乐高蝙蝠侠电影》(Chris McKay, 2017)在《蝙蝠侠》悠久的多媒体叙事历史背景下的评论接受情况,在众多平台上锚定了不同的平行叙事,以及电影通过元性吸引怀旧的方式。评论家们拥护《乐高蝙蝠侠电影》,嘲笑早期的真人版《蝙蝠侠大战超人:正义黎明》(扎克·斯奈德,2016年),这种方式引发了围绕动画文化价值和更大的超级英雄大片周期的复杂讨论,以及关于道德、商业和商业主义的讨论。因此,本文探讨的问题是,动画是否明显适合于被评论家视为美国流行文化重要组成部分的特定类型的以儿童为中心的叙事。
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引用次数: 2
Across the Traces: Lawrence Jordan’s Animated Documents 穿越痕迹:劳伦斯·乔丹的动画文件
IF 0.4 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2020-03-01 DOI: 10.1177/1746847720909344
Ekin Pinar
Since the early 1960s, Lawrence Jordan has appropriated a variety of Victorian engravings transforming them into experimental animations through the use of cut-out stop-motion techniques. In their outmoded style and technique, the dense tapestry of collaged ephemera begins to function as indices of their original Victorian context and its printing processes. But the stop-motion manipulation also renders these indexical documents surreal through the juxtaposition of apparently unrelated images. This amounts to a reflexive approach harking back to the early days of cinema when audiences perceived the new technology as a source of wonder, amazement and magic. Jordan’s animations, such as Patricia Gives Birth to a Dream by the Doorway (1961–1964) and The Centennial Exposition (1961–1964), employ a productive tension not just between animation and documentary but between indexicality and illusion as well. In these animations, the use of such tensions exposes history and culture as fragmentary constructions of memory, fantasy and experience, thereby open to alteration, re-reading and reconfiguration in the present moment.
自20世纪60年代初以来,劳伦斯·乔丹(Lawrence Jordan)挪用了各种维多利亚时代的版画,通过使用剪切定格技术将其转化为实验动画。在他们过时的风格和技术中,密集的拼贴蜉蝣挂毯开始成为他们原始维多利亚时代背景及其印刷过程的指标。但定格操作也通过并置明显不相关的图像,使这些索引文件变得超现实。这相当于一种反射性的方法,让人回想起电影的早期,当时观众将新技术视为奇迹、惊喜和魔力的源泉。约旦的动画,如《帕特里夏在门口生下一个梦》(1961–1964)和《百年博览会》(1961-1964),不仅在动画和纪录片之间,而且在指数性和幻觉之间,都采用了富有成效的张力。在这些动画中,这种紧张关系的使用将历史和文化暴露为记忆、幻想和体验的零碎结构,从而在当下打开了改变、重读和重构的大门。
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引用次数: 0
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Animation-An Interdisciplinary Journal
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