动画论文外文翻译.docx

1、动画论文外文翻译动画论文外文翻译 动画论文外文翻译 外文文献翻译 2.5.1译文：看电影的艺术 1930年代中期，沃尔特迪斯尼才明确以动画电影娱乐观众的思想，动画片本身才成为放映主角（不再是其他剧情片的搭配）。 于1937年下半年首映的动画片白雪公主与七个小矮人为动画片树立了极高的标准，至今任然指导着动画艺术家们。 1940年，这一年作为迪斯尼制片厂的分水岭，诞生了木偶奇遇记和幻想曲。 这些今天成为经典的作品在接下来的二十年中被追随效仿，产生了一系列广受欢迎的动画娱乐作品。 包括小飞象，灰姑娘，爱丽丝漫游仙境，彼得潘，小姐与流浪儿，他们的故事通常源自广为人知的文学故事。 这些影片最不好的地方在

2、于它们似乎越来越面向小观众。 在1966年第四你去死后，他的制片厂继续制作手绘动画影片，但是创作能量衰减，公司转而专注于著作真人是拍电影。 然而1989年，对于我们所有孩子来说，动画小美人鱼赋予了迪士尼新的生命活力（就像animation这个词本身的定义一样使有生命活力），从该片开始，出现了一系列令人惊叹不已的音乐动画片。 两年后，美女与野兽问世，塔尔在制作过程中利用了计算机作为传统手绘技术的辅助手段，这部影片获得了奥斯卡最佳电影奖提名，它是第一部获此殊荣的动画片。 更好的还在后面，就想着两部影片一样，后面紧接着出现的众多优秀作品包括狮子王，阿拉丁，花木兰延续了迪士尼的经典传统：大胆醒目的视觉

3、效果、精致的剧本，以及我们在所有伟大的电影中，不管是动画还是其他类型中都能找到的普适性主题和出乎意料之处。 迪士尼的新版幻想曲，又被称为幻想曲2000，把原版中的部分片段与新的创作部分糅合在一起。 （而且，按照迪士尼管理层的说法，该片是首部在IMAX巨幕影院首映的剧情长片。 ） 亨利塞利克执导了蒂姆波顿出品的两部影片，即圣诞惊魂夜和飞天巨桃历险记前者是一部完全原创的定格动画，影片画面有时渗透着无限的恐惧，后者改编自罗纳德达尔的畅销儿童书，该影片以真人实景拍摄开始。 飞天巨桃历险记对暴力画面和重大恐惧（比如说，离弃）的表达和处理毫无掩饰，表达的真实感受对成人来说和对儿童一样生动鲜明，而蒂姆波顿的

4、影片僵尸新娘，仅仅从名字上就已经显示出影片内容和该幽默表达的“成人”特征。 乔治米勒执导的可爱的小猪宝贝，曾被提名为奥斯卡最佳影片奖，受到评论界的赞誉，票房却不理想，更少有人看其续集小猪宝贝：小猪进城前后两部都混合了真人实拍、玩偶以及计算机动画。 公众对小猪进城中各种动物卷入其中的滑稽暴力场面的反应，让人确定影片为数不多的观众的主体极可能是成人，而不是儿童。 很多现代动画剧情长片，在一定程度上都有黑色（有时甚至是毛骨悚然的）幽默特征，类似的“成人”娱乐成了新近出现的第三类动画剧情片的主打要素。 这一类动画片完全由计算机技术一点一点地生成，通常这个过程基本综合手绘图像的动作平滑特性和定格动画玩偶

5、的表面可塑性。 第一批此类动画片是1955年上映的玩具总动员，由约翰拉塞特为他的皮克斯动画工厂执导，这正是一直以来我们希望在儿童影片看到的。 但是影片也出现了一些镜头，在镜头中，一个小孩在玩玩具，将他们拆毁并重新组装成丑陋可怕的新形势。 它出色的玩具总动员2进一步表明了影片创作者对表现人性更阴暗一面的兴趣。 皮克斯（现在已被迪斯尼公司拥有）也曾制作过怪物公司，影片中可爱的怪兽对儿童具有很大的吸引力，然而影片具有的讽刺式幽默明显地面向成年人。 皮克斯还制作了其他类似的动画片，包括海底总动员、超人总动员和2006年的汽车总动员，在山野票房上与电影评价界都获得了巨大的成功。 最后，如果要寻找现代动画

6、剧情片正在开发成人作为其主要观众的证据，我们只需去看一下埃及王子。 这部影片以世界上最具原型性的神话叙事之一（更不必说它还是犹太教和基督教共有的圣典）作为它的表现主题，除此之外，影片还利用相当风格化和复杂巧妙的视觉模式来表现莫西领导下的众多人物形象。 不仅如此，有史蒂文凯特辛蓓阁和大卫格芬组成的梦工厂创作团队断然拒绝授权生产任何与影片相关的迷你玩具，或者将产品广告语快餐连锁店捆绑发布，从这一点上，我们马上意识到动画剧情偏成熟了。 凯特辛蓓阁这样概括他们的主张：“我们尽量不妥协不在电影里创作可爱的角色，换觉话说，我们不想让一头骆驼变得好玩。 ” 影评家查理德考利斯形容埃及王子是“一次伟大的实验，

7、一次动画片领域的十字军圣战运动，突破了阻碍剧情动画片发展的狭窄局限”。 罗杰艾尔伯特则将该影片看做在动画创作目的、创作领域和艺术成就方面具有革命性意义的作品予以热烈追捧。 约瑟夫M.博格斯 丹尼斯w.皮特里 看电影的艺术 2006.12 2.5.2原文：The art of watching films mid-1930s that Walt Disney became obsessed with the idea of entertaining viewers with animated films that were themselves the main show. Premiering

8、 in late 1937, Disney s Snow White and the Seven Dwarfs set rigorously high standards that today still guide animation artists. Like the puppet shows from which they evolved, the Disney studio s watershed year of 1940, both animated films have long been seriously em-Pinocchio and Fantasia appeared.

9、These now braced by the world of international art. In fact, classic works were followed during the next two as Baseline s Encyclopedia of Film indicates, decades by a series of popular animated enter the first animations were also the first move tainments (including Dumbo, Cinderella, Alice in pict

10、ures. Victorian optical toys such Wonderland, Peter Pan, and Lady and the Tramp), whose stories frequently originated in well-known as conversation pieces for parlors . . literary narratives. The least-accomplished of normally contained drawings these movies appeared to be targeted more pro-depictin

11、g succeeding states of an action gressively at younger audiences . After Disney s death in 1966, his studio conduced an illusion of movement . 14tinued to make drawn animated films, but the creative energy lessened, and the company s. Later in the nineteenth century, the illu-focus shifted to produc

12、ing live-action films. Sions produced through these simple drawings Then, for the child in all of us again, Disney an-of early animation developed into those of still imation was given new life (as the word anima-photographs being manipulated swiftly, either tion itself is defined) in 1989 by The Li

13、ttle mechanically or via projection. As the cinema Merniaid, which led an astonishing string of new progressed along more or less realistic lines, musical animated features. Two years later, though, such animation pioneers as Winsor Beauty and the Beast emerged from an artistic McCay, a New York new

14、spaper cartoonist best process that utilized computers to assist in the known for his Gertie the Dinosaur (1914), began conventional drawing techniques, and the film to explore possibilities within the fantasy worlds won an Academy Award nomination for Best of animated film. By 1928, when Walt Disne

15、y Picture, the first such accolade for an animated created Steamboat Willie (and first introduced feature. Like these two films, the best ones that the world to a talking Mickey Mouse), animated followedincluding The Lion King, Aladdin, and shorts, shown before feature films, were already Mw/anconti

16、nued the classic Disney conven-being produced in abundance by such artists tions: bold visuals, shrewd scripts, and both theas Max Fleischer (creator of Betty Boop) and matic universality and surprise that we find in all Walter Lantz (Woody Woodpecker). Later the great films, animated or otherwise.

17、Disney s Warner Brothers luminaries Chuck Jones, Tex newer version of Fantasia, called Fantasia 2000, Avery, and Fritz Freleng (among many others) incorporated segments from the 1940 version gave audiences the energetic antics of a whole with newly created ones (and, according to Dis-stable of anima

18、ted personalities, including Bugs ney executives, was the first featuwholly original and sometimes immensely frightening in its images, the latter an adaptation of Roald Dahl s popular children s book that begins in live action and segues impressively into stop-action animation before returning to l

19、ive action at its end. James and the Giant Peach pulls no punches with its presentation of violence and its treatment of monumental fears (abandonment, for example) that are no less vividly real for adults than for children, and just the title of “adult“ nature of its subject matter and humor. Georg

20、e Miller s charming Babe (1995), nominated for a Best Picture Oscar, and its critically acclaimed, poorly released, and little-seen sequel, Babe: Pig inthe City (1998), both combine live action, puppets (in the form of intricate ani-matronic devices), and computer animation. Public reaction to the c

21、omic violence involving animals in Pig in the City ensured that its small and primary audience would most likely be adults, not children. Throughout many modern animation features, a certain dark, sometimes even macabre, humor abides. A similar “adult“ amusement has also become a staple in the third

22、 and latest type of animated feature film, which is generated solely by art filtered through computer technology. This process often appears almost to synthesize tlie smooth movement of drawn images and the plastic surfaces of stop-motion puppets. The first such film, 1995 s Toy Story, directed by J

23、ohn Lasseter for his Pixar studio, contains the sort of gentle satire that we have come to expect in children s films. But it also presents a sequence in which a child plays with dolls that have been mutilated and reassembled in monstrous new shapes. And the excellent sequel, Toy Story 2 (1999), pro

24、vided further evidence of its creators interest in the darker side of all life Pixar (now owned by Disney) has also produced Monsters, Inc., whose loveable monsters appealed to children while its satiric humor was clearly aimed at adults, and other large commercial and critical successes, including

25、Finding Nemo, TheIncredibles, and 2006 s Cars. Finally, if we seek proof that contemporary animated feature films now invite adults to be a major part of their audience, we need only turn to The PrinceofEgypt, (Figure 5 .42). Here is a movie that takes as its subject one of the most archetypal narra

26、tives of world myth (not to mentionJudeo-Christian scripture) and, in addition, envisions its Moses-led characters through immensely stylized and sophisticated visual modes (including elongated El Greco faces). Further, we immediately recognized that the animated feature has grown up when its makers

27、, the Dreamworks team of Steven Spielberg, Jeffrey Katzenberg, and David Geffen, flatly refused to authorize any miniature toy or product advertising tie-ins with fast food chains. Katzenberg summarized their attitude: “We tried to be uncompromising herethere s nothing cute and adorable in the film.

28、 In other words, we didn t make a camel funny/ 16 Film reviewer Richard Corliss described The Prince of Egypt as “a grand experiment, a crusade to expand the frustratingly narrow boundaries of feature animation.“!? And Roger Ebert welcomed the film as revolutionary in its aim, scope, and artistic ac

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31、各项工作进行记录。 保安员值班操作及要求 一、交接岗 1、每日上午9时和下午 19时 为交接岗。 2、交接岗时将当班所接纳物品清点清楚，以及夜班所发生的情况未得到解决的需 面汇报。 检查值班室内外的卫生状况，地面无纸屑，桌面无杂物，整齐清洁。 二、执勤 1、7:50 8:10、13：50 14：10立岗迎接上班人员；12:00 12:20 、18:00 18:20立岗送下班人员。 2、值勤时做到遇见领导立岗，检查物品立岗，外来人员进出立岗。 3、门卫室值勤时，应做到坐姿端正，注视监视器的动态，做好接待工作，值勤期间不看书报电视，听收音机。 不与无关人员聊天，劝阻无关人员不要在门卫室寄存物品或打

32、电话，禁止打瞌睡。 4、维持门口秩序，使之保持畅通。 5、熟记消防，报警，救护及内部联系电话。 三、巡逻 巡逻是防盗及发现#有不安全因素的重要措施。 1、每天按照巡检制度定时轮流巡逻。 2、巡逻时思想集中，保持高度警惕，不吸烟，不与无关人员闲聊，并将每一点所发生情况记录清楚，巡逻时做到勤走动，勤思考，勤观察。 发现问题及时报告。 3、白天加强对观众区、办公区及楼道的巡逻，夜晚以机房为重点进行检查，每晚零点之后巡查不少于两次。 四、防火工作 1、严格门卫制度，严禁无关人员，将易燃易爆物品带入#。 2、发现违反安全规定的电源和火种，应予以切断和熄灭，应报告#领导采取相关措施。 3、值勤时发现物质储存，保管不符合防火要求，消防器材移作他用及非正常使用灭火器，应及时阻止，并报告，提请有关部门整改。 4、发生火灾先拨打 119 向消防部队报警，并立即报告#领导。 报警时简要讲清#地址，电话号码及火情，同时派人在门口接应，引导消防车进入火场，向消防人员介绍