动画片是大众对动画认知的主要类型,即影片以叙事为方式的图像序列。而动画发明之初仅仅是一种画面流动幻觉的艺术形式。商业或者说影视行业标准为其套上了娱乐业的外衣,演变为一种固定样式,模糊了动画及动画片的本体论差异。曾经出现...动画片是大众对动画认知的主要类型,即影片以叙事为方式的图像序列。而动画发明之初仅仅是一种画面流动幻觉的艺术形式。商业或者说影视行业标准为其套上了娱乐业的外衣,演变为一种固定样式,模糊了动画及动画片的本体论差异。曾经出现过反抗这种样式规范的艺术家和动画作品,但最终还是未能打破屏幕内播放的既定模式。除了固定的传统动画活动(昂西、渥太华等动画节)、新生代的动画艺术展等,其余很大一部分都难以打破这种样式。2016年底在伦敦白教堂画廊举办的Edge of Frame Weekend动画展中,有光怪陆离的故障艺术动画和随手绘制的草图动画,更有肯特里奇跨媒介属性的动画。这些动画形式除对屏幕内的反抗以外,还逐渐催生出更大胆的对动画边界拓展的思考,就像催化剂以后的化学反应,真正的拓展了动画的边界,即对后动画的思考。展开更多
As a visual art, film has already been one of the main forms to exhibit culture in modem society. This paper tries to explore American animated films, one of the most successful and tipical styles of American films, f...As a visual art, film has already been one of the main forms to exhibit culture in modem society. This paper tries to explore American animated films, one of the most successful and tipical styles of American films, from the view of post-colonialism so as to receal American animated films make every effort to set up the image of the Other and to propagate American culture and value. It is American cultural hegemony.展开更多
文摘动画片是大众对动画认知的主要类型,即影片以叙事为方式的图像序列。而动画发明之初仅仅是一种画面流动幻觉的艺术形式。商业或者说影视行业标准为其套上了娱乐业的外衣,演变为一种固定样式,模糊了动画及动画片的本体论差异。曾经出现过反抗这种样式规范的艺术家和动画作品,但最终还是未能打破屏幕内播放的既定模式。除了固定的传统动画活动(昂西、渥太华等动画节)、新生代的动画艺术展等,其余很大一部分都难以打破这种样式。2016年底在伦敦白教堂画廊举办的Edge of Frame Weekend动画展中,有光怪陆离的故障艺术动画和随手绘制的草图动画,更有肯特里奇跨媒介属性的动画。这些动画形式除对屏幕内的反抗以外,还逐渐催生出更大胆的对动画边界拓展的思考,就像催化剂以后的化学反应,真正的拓展了动画的边界,即对后动画的思考。
文摘As a visual art, film has already been one of the main forms to exhibit culture in modem society. This paper tries to explore American animated films, one of the most successful and tipical styles of American films, from the view of post-colonialism so as to receal American animated films make every effort to set up the image of the Other and to propagate American culture and value. It is American cultural hegemony.
