动画设计外文文献翻译.docx

动画设计外文文献翻译.docx

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动画设计外文文献翻译

文献出处：

Amidi,Amid.Cartoonmodern:

styleanddesigninfiftiesanimation.ChronicleBooks,（2006）:

292-296.

原文

CartoonModern:

StyleandDesigninFiftiesAnimation

Amidi,Amid

Duringthe1970s,whenIwasagraduatestudentinfilmstudies,UPAhadapresenceintheacademyandamongcinephilesthatithassincelost.With16mmdistributionthrivingandthefilmsonlyaroundtwentyyearsold,onecouldstillseeRootyTootTootorTheUnicornintheGardenoccasionally.Inthedecadessince,UPAandthemodernstyleitwassocentralinfosteringduringthe1950shaverecededfromsight.Ofthestudio'sownfilms,onlyGeraldMcBoingBoinganditsthreesequelshaveaDVDtothemselves,andfansmustsearchoutsourcesforoldVHScopiesofothers.Mostmodernist-influencedfilmsmadebythelessprominentstudiosoftheeraarecompletelyunavailable.

UPAremains,however,partofthestandardstoryoffilmhistory.Followingtwodecadesofrulebytherealist-orientedWaltDisneyproduct,thesmallstudioboldlyintroducedamoreabstract,stylizedlookborrowedfrommodernisminthefinearts.Othersmallerstudiosfolloweditslead.JohnHubley,sometimesinpartnershipwithhiswifeFaith,becameacanonicalnameinanimationstudies.Butthetrendlargelyendedafterthe1950s.Nowitsimportanceistakenforgranted.DavidBordwellandIfollowedthepatternbymentioningUPAbrieflyinourFilmHistory:

AnIntroduction,wherewereproduceablack-and-whiteframefromtheHubleys'Moonbird,takenfromaworn16mmprint.Bynow,UPAreceivesasortofvaguerespect,whilefewactuallyseeanythingbeyondthethreeorfourmostfamoustitles.

AllthismakesAmidAmidi'sCartoonModernanimportantbook.Publishedinanattractivehorizontalformatwellsuitedtodisplayingfilmimages,itprovideshundredsofcolordrawings,paintings,cels,storyboards,andotherdesignimagesfrom1950scartoonsthatdisplaytheinfluenceofmodernart.AmidistickstotheU.S.animationindustryanddoesnotcoverexperimentalworkorformatsotherthancelanimation.Thebookbringstheinnovativestyleofthe1950sbacktoourattentionandprovidesaveritablearchiveofrare,mostlyunpublishedimagesforteachers,scholars,andenthusiasts.Seekingtheseoutandmakingsurethattheyreproducedwell,withagoodlayoutandfaithfulcolor,wasamajoraccomplishment,andtheresultisagreatservicetothefield.

Thecollectionofimagesissoattractive,interesting,andinformative,thatitdeservedanequallyusefulaccompanyingtext.Unfortunately,bothintermsoforganizationandamountofinformationprovided,thebookhasmajortextualproblems.

Amidistateshispurposeintheintroduction:

"toestablishtheplaceof1950sanimationdesigninthegreatModernisttraditionofthearts".Infact,hebarelydiscussesmodernismacrossthearts.Heisfarmoreconcernedwithidentifyingtheindividualfilmmakers,mainlydesigners,layoutartists,anddirectors,andwithdescribinghowthemorepioneeringonesamongthemmanagedtoinsertmoderniststyleintotheproductsofwhatheseesastheold-fashioned,conservativeanimationindustryofthelate1940s.Whenthosefilmmakerslovedjazzorstudiedatanartschoolorexpressedanadmirationfor,say,FernandLéger,Amidimentionsit.HemayoccasionallyrefertoAbstractExpressionismorPopArt,buthereliesuponthereadertocometothebookalreadyknowingtheartistictrendsofthetwentiethcenturyinbothAmericaandEurope.AtleasttwicehementionsthatGyorgyKepes'simportant1944bookTheLanguageofVisionwasakeyinfluenceonsomeoftheanimatorsinclinedtowardmodernism,butheneverexplainswhattheymighthavederivedfromit.Thereisnoattempttosuggesthowmodernistfilms（e.g.Balletmécanique,DasCabinetdesDr.Caligari）mighthaveinfluencedthoseofHollywood.Onthewhole,theotherartsandmodernismarejustassumed,withoutexplanationorspecification,tobethecontextforthesefilmmakersandfilms.

ThereseemtomethreedistinctproblemswithAmidi'sapproach:

hisbroad,all-encompassingdefinitionofmodernism;hisdisdainformoretraditionalanimation,especiallythatofDisney;andhislayoutofthechapters.

ForAmidi,"modern"seemstomeaneverythingfromAbstractExpressionismtostylizedgreetingcards.HedoesnotdistinguishCubismfromSurrealismorexplainwhatstrainofmodernismhehasinmind.Hedoesnotexplicitlylayoutadifferencebetweenmodernist-influencedanimationandanimationthatisgenuinelyapartofmodern/modernistart.ThusthereisnomentionoffigureslikeOskarFischingerandMaryEllenBute,thoughthereseemsapossibilitythattheirworkinfluencedthemainstreamfilmmakersdealtwithinthebook.

ThismaybebecauseAmidiseesmodernism'sentryintoAmericananimationonlysecondarilyasamatterofdirectinfluencesfromtheotherarts.Instea