發(fā)布時(shí)間：2019-01-05 13:14

【摘要】：今敏（Satoshi kon）是一位優(yōu)秀的日本動(dòng)畫(huà)導(dǎo)演，在他從業(yè)的十七年中卻只留下了四部動(dòng)畫(huà)電影、一部劇集動(dòng)畫(huà)和一部一分鐘的實(shí)驗(yàn)動(dòng)畫(huà)，他以解析夢(mèng)境與現(xiàn)實(shí)的關(guān)系的主題、“意識(shí)流”化的表現(xiàn)手法而著稱(chēng)。論文從今敏的生平簡(jiǎn)歷和社會(huì)環(huán)境對(duì)他創(chuàng)作的影響入手，結(jié)合后現(xiàn)代主義藝術(shù)理論，運(yùn)用量化分析、歸納總結(jié)、對(duì)比例證等方法，分析今敏動(dòng)畫(huà)電影中的敘事方法、鏡頭節(jié)奏和剪輯特色，對(duì)今敏動(dòng)畫(huà)鏡頭語(yǔ)言的藝術(shù)特征做全面的梳理，主要從動(dòng)畫(huà)鏡頭語(yǔ)言的“靜態(tài)構(gòu)成”和“動(dòng)態(tài)構(gòu)成”兩方面進(jìn)行研究。 論文共分為四章。 第一章為緒論，主要介紹有關(guān)今敏的國(guó)內(nèi)外研究狀況、本論文的研究目的和意義以及論文的主要研究?jī)?nèi)容，課題相關(guān)概念的陳述。課題研究方法中的“鏡頭節(jié)奏量化分析法”屬本文原創(chuàng)，也是創(chuàng)新點(diǎn)之一。 第二章探討今敏動(dòng)畫(huà)風(fēng)格形成的原因，一方面，介紹今敏的生平和他的創(chuàng)作經(jīng)歷，根據(jù)今敏的成長(zhǎng)經(jīng)歷分析其風(fēng)格形成的的主觀原因。另一方面，從日本古代自然審美的形成，和當(dāng)代日本動(dòng)畫(huà)影壇創(chuàng)作路線的角度，來(lái)研究今敏藝術(shù)風(fēng)格形成的客觀原因。 第三章從鏡頭語(yǔ)言的“靜態(tài)構(gòu)成”角度分析今敏動(dòng)畫(huà)電影的風(fēng)格特點(diǎn)，分別從構(gòu)圖、色彩和光線三部分，來(lái)探討鏡頭語(yǔ)言“靜態(tài)構(gòu)成”元素對(duì)動(dòng)畫(huà)敘事和情感表達(dá)的影響。 第四章從鏡頭語(yǔ)言的“動(dòng)態(tài)構(gòu)成”角度分析今敏動(dòng)畫(huà)電影的風(fēng)格特點(diǎn)，，分別從景別、角度、運(yùn)動(dòng)、蒙太奇語(yǔ)言和鏡頭節(jié)奏五部分，來(lái)探討鏡頭語(yǔ)言“動(dòng)態(tài)構(gòu)成”元素對(duì)動(dòng)畫(huà)敘事和情感表達(dá)的影響。 最后的結(jié)語(yǔ)與展望，闡述了論文研究所得結(jié)論：今敏的動(dòng)畫(huà)電影具有顯著的后現(xiàn)代主義特征，他在高雅與通俗、精英與大眾、傳統(tǒng)與流行之間找到了微妙的平衡，他將后現(xiàn)代藝術(shù)創(chuàng)作思想引入至動(dòng)畫(huà)創(chuàng)作中，在敘事上打破“元敘事”的時(shí)空結(jié)構(gòu)，并賦予動(dòng)畫(huà)鏡頭語(yǔ)言更深層次的思想內(nèi)涵。論文研究所用的“鏡頭節(jié)奏變化趨勢(shì)圖”量化研究方法，是具有實(shí)用性和可行性的全新研究方法，為今后動(dòng)畫(huà)電影鏡頭語(yǔ)言的研究語(yǔ)言提供了新的研究方法和標(biāo)準(zhǔn)。
[Abstract]:(Satoshi kon), an excellent Japanese animation director, has left behind only four animated films, a drama animation and a one-minute experimental animation in his 17 years in the field, to analyze the theme of the relationship between dreams and reality. The expression of "stream of consciousness" is famous. This paper begins with the influence of Jin Min's life history and social environment on his creation, combining with post-modernism art theory, using quantitative analysis, induction and summary, contrast examples and other methods to analyze the narration methods in Jin Min's animated films. This paper makes a comprehensive combing of the artistic features of the animation lens language from the two aspects of "static composition" and "dynamic composition" of the animation lens language. The thesis is divided into four chapters. The first chapter is the introduction, which mainly introduces the domestic and foreign research situation, the purpose and significance of this paper, the main research contents and the related concepts of the subject. The quantitative analysis of lens rhythm in the research method of this paper is original and one of the innovative points. The second chapter discusses the reasons for the formation of the animation style. On the one hand, it introduces his life and his creative experience, and analyzes the subjective reasons for the formation of his style according to his growing experience. On the other hand, from the perspective of the formation of Japanese ancient natural aesthetics and the creative route of contemporary Japanese animation film, the objective reasons for the formation of modern Japanese animation art style are studied. In the third chapter, from the angle of "static composition" of lens language, we analyze the style characteristics of modern animated film, and discuss the influence of "static constitution" element of lens language on animation narration and emotional expression from three parts of composition, color and light, respectively. Chapter four analyzes the stylistic features of this animated film from the angle of "dynamic composition" of lens language, which is divided into five parts: scene, angle, movement, montage language and lens rhythm. To explore the impact of lens language "dynamic composition" elements on animation narrative and emotional expression. Finally, the conclusion of the paper is expounded: the animated film of Jin Min has the characteristic of postmodernism, and he has found a delicate balance between elegance and popular, between elite and popular, between tradition and popularity. He introduced the postmodern artistic creation thought into the animation creation, broke the space and time structure of the "meta-narrative" in the narration, and endowed the animation lens language with the deeper ideological connotation. The quantitative research method of "shot Rhythm change trend Map", which is used in the thesis, is a new research method with practicability and feasibility, which provides a new research method and standard for the research language of animation film lens language in the future.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J954

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