日本藝術(shù)和動(dòng)畫(huà)卡通外文翻譯(已修改)
2024-11-17 01:29 本頁(yè)面
【正文】 日本藝術(shù)和動(dòng)畫(huà)卡通外文翻譯 本科畢業(yè)論文外文翻譯 外文題目 : Japanese Art and the Animated Cartoon 出 處 : The Quarterly of Film Radio and Television 作 者 : Taihei Imamura 原文 : Japanese Art and the Animated Cartoon TAIHEI IMAMURA is one of Japan39。s leading motion picture critics and has written a number of books on the social and aesthetic aspects of the film, as well as editing Eiga Bunka Movie Culture, the only motionpicture magazine in Japan. The following article, which was translated from Japanese by Fuyuichi Tsuruoka, is to appear as a chapter in Mr. Imamura39。s On the Animated Cartoon. THE ANIMATED CARTOON has made little progress except in America, but the popularity of Disney films, rivaled in universal appeal only by the films of Chaplin, gives reason to hope that there will be a worldwide development in the field of animation, each country adapting the techniques of animation to its own artistic tradition Unfortunately, the Japanese animated cartoon is not as unique an art as that of America despite the fact that Japanese art in the past was distinguished by its originality. It may well be that ancient Japanese art, considered critically, is the art of a less advanced society, but this does not mean that a Japanese style of animation can or should dispense with it. Whether we like it or not, traditional art must be the foundation of a truly Japanese animated cartoon. Originality in the new form will not be attained by ignoring the past, for the animated cartoon, like other modern forms of art, is a development of inheritances from the past. It has been pointed out by S. M. Eisenstein that ancient Japanese art has characteristics closely related to those of the animated cartoon and employs similar methods The Japanese picture scroll, considered as a picture story, is actually a distant antecedent of the animated cartoon, the first attempt to tell a story with a time element in pictures. The chief difference between the animated cartoon and the picture scroll is that the individual pictures in the scroll do not move. On the other hand, neither does the single frame of a motion picture. The illusion of movement results, in both forms, from the difference between each picture and the one that follows. Each picture whether in the picture scroll or the movie is inanimate, a still of arrested motion. When the pictures are seen in time, one after another, they seem to move. That objects and people appear to have motion is secondary。 the essential movement is the progress of an idea. A representation of mere motion is not art unless it advances an idea, or is the visual image of original and creative thought. Both the motion picture and the Japanese picture scroll are plastic expressions of ideas, and consequently, though the picture scroll is centuries old, have fundamental techniques in mon To illustrate, a Japanese picture scroll shows the opposite sides of a battleship simultaneously although the ship is in a position where only one side could actually be seen. By the ordinary laws of perspective, we cannot see the opposite side of an object, so the battleship is drawn twistedly. This is a negation of a monistic visual angle and of mon sense. It is the same m
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