日本艺术和动画卡通外文翻译.docx

日本艺术和动画卡通外文翻译.docx

《日本艺术和动画卡通外文翻译.docx》由会员分享，可在线阅读，更多相关《日本艺术和动画卡通外文翻译.docx（6页珍藏版）》请在冰豆网上搜索。

日本艺术和动画卡通外文翻译

本科毕业论文外文翻译

外文题目：

JapaneseArtandtheAnimatedCartoon

出处：

TheQuarterlyofFilmRadioandTelevision

作者：

TaiheiImamura

原文：

JapaneseArtandtheAnimatedCartoon

TAIHEIIMAMURAisoneofJapan'sleadingmotionpicturecriticsandhaswrittenanumberofbooksonthesocialandaestheticaspectsofthefilm,aswellaseditingEigaBunka（MovieCulture）,theonlymotion-picturemagazineinJapan.Thefollowingarticle,whichwastranslatedfromJapanesebyFuyuichiTsuruoka,istoappearasachapterinMr.Imamura'sOntheAnimatedCartoon.THEANIMATEDCARTOONhasmadelittleprogressexceptinAmerica,butthepopularityofDisneyfilms,rivaledinuniversalappealonlybythefilmsofChaplin,givesreasontohopethattherewillbeaworld-widedevelopmentinthefieldofanimation,eachcountryadaptingthetechniquesofanimationtoitsownartistictradition.

Unfortunately,theJapaneseanimatedcartoonisnotasuniqueanartasthatofAmericadespitethefactthatJapaneseartinthepastwasdistinguishedbyitsoriginality.ItmaywellbethatancientJapaneseart,consideredcritically,istheartofalessadvancedsociety,butthisdoesnotmeanthataJapanesestyleofanimationcanorshoulddispensewithit.Whetherwelikeitornot,traditionalartmustbethefoundationofatrulyJapaneseanimatedcartoon.Originalityinthenewformwillnotbeattainedbyignoringthepast,fortheanimatedcartoon,likeothermodernformsofart,isadevelopmentofinheritancesfromthepast.IthasbeenpointedoutbyS.M.EisensteinthatancientJapanesearthascharacteristicscloselyrelatedtothoseoftheanimatedcartoonandemployssimilarmethods.

TheJapanesepicturescroll,consideredasapicturestory,isactuallyadistantantecedentoftheanimatedcartoon,thefirstattempttotellastorywithatimeelementinpictures.Thechiefdifferencebetweentheanimatedcartoonandthepicturescrollisthattheindividualpicturesinthescrolldonotmove.Ontheotherhand,neitherdoesthesingleframeofamotionpicture.Theillusionofmovementresults,inbothforms,fromthediffer-encebetweeneachpictureandtheonethatfollows.Eachpicture（whetherinthepicturescrollorthemovie）isinanimate,astillofarrestedmotion.Whenthepicturesareseenintime,oneafteranother,theyseemtomove.Thatobjectsandpeopleappeartohavemotionissecondary;theessentialmovementistheprogressofanidea.Arepresentationofmeremotionisnotartunlessitadvancesanidea,oristhevisualimageoforiginalandcreativethought.BoththemotionpictureandtheJapanesepicturescrollareplasticexpressionsofideas,andconsequently,thoughthepicturescrolliscenturiesold,havefundamentaltechniquesincommon.

Toillustrate,aJapanesepicturescrollshowstheoppositesidesofabattleshipsimultaneouslyalthoughtheshipisinapositionwhereonlyonesidecouldactuallybeseen.Bytheordinarylawsofperspective,wecannotseetheoppositesideofanobject,sothebattleshipisdrawntwistedly.Thisisanegationofamonisticvisualangleandofcommonsense.ItisthesamemethodasthatofFuturismorCubism.

Toletusseebothsidesofanobjectfromonepointofviewistorevealthesidewhichisordinarilyunseenorthatwedonotexpecttosee.Theonesideis"real"andtheotheris"unreal,"sothattheunrealsideshouldbeconsideredtoexistthroughtherealone,tobepredicatedupontherealsideasprobableorneces-sary.Itisanimaginativeunificationofbothsides,distortingperspectivetoexpressanidea.

Doubleexposureinthemotionpictureservesthesamepur-pose,allowingustoseebothsidesofonethingatthesametime,ortwoobjectsindifferentplacesatthesametime.

Boththemotionpictureandthepicturescrollhaveothertech-niquesthatovercomethephysicallimitationsofthehumaneye.Themotion-picturemontageisessentiallythesameastheun-synchronizedrevolvingmethodinthepicture-scrolldrawing,forexample,andthecutbackalsohasitscounterpartinthescroll.Inthepicturescrollandthemotionpicturewecanseethelivingconditionsofamaninthecityandhisloverinthecountrysynchronously,alternately,andinparallel.Obviously,whatweseeinthescrollexistsonlyinourminds;butthesameistrueofthemotionpicture,eventhoughitshowsusrealobjectsandpeopleandplaces.Itisnotbecausetheyareoftenpartofanimaginedstory.AnewsreelmontageofLondon,Tokyo,andNewYorkshowsusrealcities,buttoseeNewYorkonemomentandTokyothenextisinconsistentwithreality,anddemandsthatweacceptanegationoftimeandspace.Inasense,then,doubleexposure,montage,andcutbackaretechniqueswhichtransformrealityintoidea.

Whatweactuallyseeinamotionpictureorapicturescrollisthevisualizationofanidea.Itdoesnotmatterwhetherindividualshotsanddrawingsareliteralrepresentationsiftheyhelptorevealtheidea.Forexample,theFukinukiyakata（no-roof-house-picture）inthepicturescrollallowsustolookdownfromaboveonarooflesshousewiththeinteriorplainlyvisible.Intherealworld,housesareroofed,butintheworldofthepicturescrollweaccepttherooflesshouseasreal.Infact,inourimagination,thehouseisroofed,butweareabletoseethroughit.Similarly,inthemotionpicture,wemayviewaroomfullofpeoplefromabove,asinTheMerryWidow（1934）,inwhichaballroomsceneisphotographedfromthechandelier.Inourimaginations,itisnotthecamerabutwe,ourselves,whoviewthisscenefromabove.Onlyintheimaginationcanonestrideoverthemountainorflyoverthefieldsquitefreely,asinthepicturescrollofShigisanTemple,orinthemanymodernmotionpicturesinwhichweseeobjectsfromallangles.Thecamera,too,letsusflyoverfields.

Thedistortionofrealityismoreapparentinthepicturescrollbecauseitbecomes,frequently,adistortionofperspective.Forexample,toachieveaneffectsimilartothatofthemotion-pictureclose-up,picture-scrollartistsdrewsomefiguresextraordinarilylargeincomparisonwiththeobjectssurroundingthem.ThebestexamplesareinthemountainhermitagesseenintheShigisan-EngiandthefiguresprayingonthesummitintheEgaratenjin-Emaki.Perspectiveisintentionallydisregardedandthefiguresex-aggeratedsothattheeyesareattractedtothemostimportantones;thehumanfiguresgraduallybecomelargerthanthemountains,whichfinallyseemnolargerthanthoseofaminiaturegarden.

Itisnoaccidentthatthepicturescrollandthemotionpictureusesimilartechniques.Bothmustbedynamicinordertodevelopastorymomentbymoment,attractingandholdingthespectator'sinterestinpictureafterpicture.TheBandainagonEkotabapic-turescroll,forexample,openswithapictureofmenrushingtoandfro.Theyfrown,cry,wavehands,andpointtowardsome-thing.Moremenappear,andtheexcitementincreases.Weseeagateandtheuproarcomestoaclimax.Someofthethrongclimbastonehedge.Suddenly,throughthegate,blacksmokeappearsandflamesleapagainstalonglineofpeople.Nextmomentweseethattheopengateisaflame.

Therapidtempoofthefirescenehelpstocreatetheimpressionofpeoplerushingaboutand,whatismoreimportant,speedsthedevelopmentofthestorytowardaclimax.MostAmericanmoviesattractinterestthroughjustsuchdirectandrapidplotdevelop-mentintheopeningscenes.

Inthefurtherdevelopmentoftheplot,thepicturescrollusesatechniquesimilartothemotion-picturemontage.Theactionisabbreviatedandtheclimaxesofseveralscenesarepresentedinquicksuccession.Sometimesthistechniqueofabbreviationisusedtoshowthepassageoftime,asinapictorialbiographyofSt.Ippeninwhich,betweenpicturesofaction,isapictureofarunningstreamandpampasgrasswavinginthewind,indicatingapassageoftime.Thenextpictureshowsapriestlyingonhisdeathbedsurroundedbygrief-strickenpeople.Thenextpictureshowsonlythesaint'sfacecoveredwithawhitecloth.Heisdead.

ItseemsclearenoughthattherearestrongresemblancesbetweensomeaspectsoftheJapanesepicturescrollandthemodernmotionpicture.TheJapaneseanimatedcartoonshoulduse,inthemodernmedium,thetraditionsitinheritsfromthepast.ThemostimportantthingtheJapaneseanimatedcartooncanlearnfromthepicturescrollisitsuseofimaginativepower.ThescrollcameoutofabackwardandstagnatedfeudalJapan;undersuchoppressionpeoplegenerallyfindreleaseintheirimaginationsratherthaninreality.Whenthepicturescrollpresentedrealscenesasthoughviewedfromhighabove,itimpliedacelestialpointofview,expressingtheideathatsalvationshouldbesoughtintheunearthlyworld.

Theheaviertheoppression,themorepeopleescapedtosuchsalvationandlivedintheirimaginations.Yeteveninthemostimaginativescrollsaconcernwiththerealitiesoflifeshowsitself.Imaginationdoesnotnecessarilymakeusforgetrealitiesbutcanstimulateourawarenessofthem.Thepicturescrollsthatexcelinimaginationexcelalsoinrealism.

AmongtheseareChojuGigaZukan（picturescrollofbirdsandbeasts）,Gaki-Zoshi（storybookoffamisheddevils）,andHyakki-Yako-Zu-Emaki（picturescrollofpandemonium）.TheanimalsinChojuGigaZukanareanatomicallycorrect,butthescrolldepictsthecorruptlivingconditionsofthearistocracyandclergyintheendoftheHeianera,athousandyearsago,byshowingtheratsinfullcourtdressandthefrogswearingredskirtswithlotusleavesintheirhands,andsoon.

TheGaki-ZoshipicturesnotonlyfamisheddevilsbutactuallythestarvingpeopleintheKamakur