摘要
新海诚以动漫之美挑战日本灾难电影,他导演的最新动画电影《铃芽之旅》实现了人与灾难从对立到交融的审美转型:始自“废墟”的铃芽关门之旅,是一场生态审美的成长史;奔跑的“三脚椅”与富士山之美,展现的是人与环境的共融;而原风景与传统猫的喻体,则是探求人与自己的共情。在一系列生态美学的滋养中,新海诚构建了日本动漫的“世界系”范式,标志着日本灾难电影的生态审美转型,具有世界性的意义。
Makoto Shinkai challenges Japanese disaster films with the beauty of anime, achieving an aesthetic transformation from opposition to integration between humanity and disaster in his latest anime film Suzume. The journey of Suzume, starting from the “ruins”, is a story of growing up with ecological aesthetics. The running “three-legged chair” and the beauty of Mount Fuji showcase the harmony between humanity and the environment. The metaphors of original landscapes and traditional cats explore empathy between individuals. In the nourishment of a series of ecological aesthetics, Makoto Shinkai constructs the world-class paradigm of Japanese anime, marking the transformation of ecological aesthetics in Japanese disaster films. His effort holds global significance.
作者
林祁
杨熙黎
蔡秀星
Lin Qi;Yang Xili;Cai Xiuxing
出处
《鄱阳湖学刊》
2024年第1期116-123,159,共9页
Journal of Poyang Lake
基金
国家社会科学基金项目“日本新华侨华人文学三十年”(编号:13BZW13)
中华学术外译项目“中国现代小说的起点”(编号:18WZW009)、“百年中国留日学生文学叙事研究”(编号:21FZWB095)。
