实验动画与艺术动画的诗性研究

Poetic exploration of experimental animation and art animation

动画作为一类创作形式依据各种类型与体裁的不同,可大体对应文学体裁中的记叙文、散文及诗歌。而在大多数动画作品中,以'说故事'作为内容表现的作品几乎完全淹没了我们的视线。他们大都体量庞大、浓墨重彩、正襟危坐,以感官视觉为先,以传统故事为本,却又在叙事表现上人云亦云,众口一词,多数作品沿袭、迁就早已固化的模式而显得循规蹈矩,老态龙钟。然而,除了这一类型(体裁)之外,还存在着一类动画纯属异类。它们体格娇小,形式不拘一格,一直游离于大众视线之外的桃花源,恰以能获取最广博渊源得以滋养;它们更像一首诗或一篇散文,或悦耳细碎,灵光闪烁;或旁驰博鹜,忘性尔我;或超然俯视,恍然彻悟。在这些作品中,也大致呈现不同的两种叙事策略:'线性'和'非线性'。其中'线性'一类表达多为艺术动画,'非线性'一类属于纯艺术或实验(先锋)动画。由于中西方文化和创作语境的不同,使得西方现代艺术与后现代艺术给予先锋动画丰厚的滋养孕育的环境。而对于中国观众而言,实验(先锋)动画作品在感受度上会显生疏和突兀。然而,值得思考的是,在我们的文化根基中早有诗学的浸润滋养,从《诗经》《楚辞》到唐宋诗词,中华民族被世界誉为'诗性的民族',拥有优秀的'诗性的文化'。我们对于诗的研究或创作历时千年却还余音缭绕,在诗学的学术研究领域也成果累累,遗憾的是,诗学研究却未能在这一新时代、新媒介爆棚的当下有所借鉴、衍生。我们知道,任何形式的创作基于文化根系方能彰显能力。而'诗性'或者'诗学'在于实验动画以及艺术动画的表现上,是具有极为相似的美学基础和借鉴意义,这一点毋庸置疑。本文希望通过这个切入点和研究途径,从美学基础、媒介手段和媒介特性三个层次来探索、分析和比较诗学与实验动画、艺术动画的结构,形式以及美学价值的迥异,探求实验动画与艺术动画的'诗性'表现是如何构成的,同时印证'诗'的体裁创作在动画片类型中的重要性和不可取代的艺术价值和地位。本论文论述分两个部分:第1部分论述围绕实验动画与艺术动画的'诗性'何以构成;实验动画与艺术动画的'诗性'的具体表现。第2部分论述主要围绕'线性'———造型化与'非线性'———音乐性在'诗意'美学中的美学基础、形式表现分析与辨识。本论文论述为第一部分。

Animation as a kind of creative form depends on various types and genres,could correspond to the narrative,prose and poetry of the literary genre.The'story telling'types almost occupy our sight in the most animation works.They are large size,thick and heavy in colour,be assuming great airs,focus on the sensory experience,with inflexible traditional story,following the herd and unanimous.Most of the works follow the established pattern and appear to conform to the rules and in its dotage.However,there is another kind of type existed which belongs to heterogeneous except for these types(genres).They are small size and not to be stick in one pattern.They are always away from the sight of the public——the peach garden.They also be nourished by the most extensive sources too;They are more like a poem or a piece of prose,which are sweet sounding,a flash of miraculous brightness,far sighted,intoxicated,great awakening.In these works,there are two different kinds of story telling strategies:'linear'and'nonlinear',in which,the expression of'linear'is art animation,a kind of'nonlinear'is experimental animation.Because of the difference between the context of the east and the west,the western modern art and post-modern art gave the avant-garde animation rich nourishment and breeding environment.For the Chinese audience,the experiment(avant-garde)animated works will be unfamiliar and abrupt in the degree of feeling.What is worth thinking about for the infiltration and nourishment of poetics in our cultural foundation,from the Book of《Songs》,the《Chu Ci》and the poems of the Tang and Song Dynasties,the Chinese nation has been praised as a'poetic nation'by the world and has an excellent'poetic culture'.We for the study of poetry or creation lasted for thousands of years,still lingering around,in the field of academic research also in fruitful results.However,Unfortunately,poetic studies failed to draw lessons and derive from this era during new media from the bursting of the moment.We know that any form of creation based on the roots of culture can demonstrate the ability.However,'poetic'or'Poetics'is very similar in aesthetic expression and experience in the performance of experimental animation and art animation,which is beyond doubt.This article hopes to explore,analyze and compare the differences between the structure and form of poetics and experimental animation and art animation from the following three levels:aesthetic basis,media and media characteristics.Explore the'poetic'performance of the experimental animation and the art animation.At the same time,it proves the importance of the genre creation of'poetry'in the type of animation which artistic value and position can not be replaced.This thesis is divided into two parts:The first part discusses the composition of the'poetic'around the experimental animation and the art animation,and the concrete expression of the'poetic'of the experimental animation and the art animation.The second part is mainly about the'linear'——modeling and'nonlinear'——the aesthetic basis of music in'poetic aesthetics',and the form performance analysis and identification.This thesis is the first part of this paper.