从叙事手法看实验动画的形式流变
发布时间：2018-09-01 18:17
【摘要】：中国当代实验动画开始于20世纪,于20世纪90年代迅速发展。经济全球化和信息全球化的趋势为实验动画的创作提供了一个新的平台。凭借全球语境和本土语境的优势,动画制作者创造的作品,都具有大量的个体思想。幻想性、先锋性和实验性都是实验动画的特点,实验动画与动画在一般叙事中的差异表现在使其具有明显的非常规叙事或甚至没有叙事。在目前的理论研究上还没有关于他的具体定义,他是对传统叙事手法的一种颠覆、一种实验。本文所提到的无叙事,并不是不去讲述故事,只是运用特殊的图像切换,打破传统常规的叙事理论和叙事手法,去表现故事的一种实验动画新形势。动画作品的叙事可以从麦茨提出的五个标准看,动画的叙事手法与文学中的叙事学有相似之处,与电影中的符号学也有交叉,都是用观众看到的或联想到的画面去组成完整的话语,用特殊的叙事符号去讲述时间、表达情感。不同之处在于实验动画在叙事手法上应用了一种特殊的形式,它用某些图形组成意象的形式去表达作者想表述的象征意义,这样一来,既可以“表达情感”又可以“陈述世界”。去展示创作者的观点和图形信息,具有自己特有的叙事功能和叙事特征。研究动画的叙事时间可以发现,它突破了文学叙事中叙事学的复杂结构,创作者注重运用自己的设计的形象去重新构造一个新的叙事时间,通过对时间的压缩或拉长去表现唯美、幽默和夸张。研究动画的叙事空间可以发现,画面中主要依靠图形去构成空间。点、线、面、甚至色彩或光影,都为创作者叙事提供了一些符号寓意和情感表达,也可以在单一意象中叙述,与电影叙事中的场景中的多意象群、多视角的图像场景,呈现出假定性与唯美性的特点和美感。从观众的直接观影角度看,绘画的外部空间以添加音效的方法展示,通过音效的加入对画面产生新的层次的联想,呈现不同形式的视觉空间,对作品某处情节进行暗示、夸张处理,这便是我们所说的叙事方式的新形式——音效叙事。本文共分为四部分,第一章绪论,明确选题背景、研究对象、研究内容、研究目的和意义。第二章阐述了实验动画的概念、特征与分类,七种基本叙事方法及相关作品实例。第三章从大的宏观视角去论述了叙事手法在实验动画中是如何应用的,并具体阐述了多线性叙事、回忆叙事、环形结构叙事、乱线性叙事和倒叙等七个叙事手法。第四章从微观角度梳理了实验动画不同阶段发展中不同表现形式以及对当今实验动画的启示。
[Abstract]:Chinese contemporary experimental animation began in the 20 th century and developed rapidly in the 1990 s. The trend of economic globalization and information globalization provides a new platform for the creation of experimental animation. With the advantage of global context and local context, the works created by animators have a large number of individual thoughts. Fantasy, vanguard and experiment are the characteristics of experimental animation. The difference between experimental animation and animation in general narration is that it has obvious unconventional narration or even no narrative. There is no specific definition of him in the current theoretical research, he is a subversion of the traditional narrative techniques, an experiment. The non-narrative mentioned in this paper is not to tell the story, but to use special image switching to break the traditional narrative theory and narrative technique, to express a new situation of experimental animation. The narration of animation works can be seen from the five standards put forward by Metz. The narrative techniques of animation are similar to narratology in literature and intersect with semiotics in movies. They are composed of the pictures seen or associated by the audience, and the special narrative symbols are used to describe the time and express the emotion. The difference is that the experimental animation uses a special form of narrative technique, which uses the form of some graphic image to express the symbolic meaning that the author wants to express. You can "express emotion" and "state the world". To show the author's views and graphic information, has its own unique narrative function and narrative characteristics. Studying the narrative time of animation can be found that it breaks through the complex structure of narratology in literary narration, and the creator pays attention to reconstructing a new narrative time by using his own design image. Show beauty, humor, and exaggeration by compressing or lengthening time. Studying the narrative space of animation can find that the picture mainly depends on graphics to form space. Dots, lines, surfaces, and even colors or shadows, all provide the creator's narrative with some symbolic implications and emotional expressions, and can also be narrated in a single image, with multiple image groups in the scene in film narration, and an image scene with multiple angles of view. It presents the characteristics of hypocrisy and aestheticism. From the point of view of the audience, the external space of painting is displayed by adding sound effects. Through the addition of sound effects, it produces a new level of association on the screen, presents different forms of visual space, and hints at a plot somewhere in the work. Exaggeration, this is what we call a new form of narrative-sound narrative. This paper is divided into four parts. The first chapter is introduction, which defines the background, object, content, purpose and significance of the research. The second chapter describes the concept, characteristics and classification of experimental animation, seven basic narrative methods and examples of related works. The third chapter discusses how to use narrative techniques in experimental animation from a macro perspective, and concretely expounds seven narrative techniques, such as multi-linear narrative, recall narrative, annular structure narrative, chaotic linear narrative and flashback. The fourth chapter combs the different manifestation forms of experimental animation in different stages from the micro angle and the enlightenment to the experimental animation today.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J954
本文编号：2217973
[Abstract]:Chinese contemporary experimental animation began in the 20 th century and developed rapidly in the 1990 s. The trend of economic globalization and information globalization provides a new platform for the creation of experimental animation. With the advantage of global context and local context, the works created by animators have a large number of individual thoughts. Fantasy, vanguard and experiment are the characteristics of experimental animation. The difference between experimental animation and animation in general narration is that it has obvious unconventional narration or even no narrative. There is no specific definition of him in the current theoretical research, he is a subversion of the traditional narrative techniques, an experiment. The non-narrative mentioned in this paper is not to tell the story, but to use special image switching to break the traditional narrative theory and narrative technique, to express a new situation of experimental animation. The narration of animation works can be seen from the five standards put forward by Metz. The narrative techniques of animation are similar to narratology in literature and intersect with semiotics in movies. They are composed of the pictures seen or associated by the audience, and the special narrative symbols are used to describe the time and express the emotion. The difference is that the experimental animation uses a special form of narrative technique, which uses the form of some graphic image to express the symbolic meaning that the author wants to express. You can "express emotion" and "state the world". To show the author's views and graphic information, has its own unique narrative function and narrative characteristics. Studying the narrative time of animation can be found that it breaks through the complex structure of narratology in literary narration, and the creator pays attention to reconstructing a new narrative time by using his own design image. Show beauty, humor, and exaggeration by compressing or lengthening time. Studying the narrative space of animation can find that the picture mainly depends on graphics to form space. Dots, lines, surfaces, and even colors or shadows, all provide the creator's narrative with some symbolic implications and emotional expressions, and can also be narrated in a single image, with multiple image groups in the scene in film narration, and an image scene with multiple angles of view. It presents the characteristics of hypocrisy and aestheticism. From the point of view of the audience, the external space of painting is displayed by adding sound effects. Through the addition of sound effects, it produces a new level of association on the screen, presents different forms of visual space, and hints at a plot somewhere in the work. Exaggeration, this is what we call a new form of narrative-sound narrative. This paper is divided into four parts. The first chapter is introduction, which defines the background, object, content, purpose and significance of the research. The second chapter describes the concept, characteristics and classification of experimental animation, seven basic narrative methods and examples of related works. The third chapter discusses how to use narrative techniques in experimental animation from a macro perspective, and concretely expounds seven narrative techniques, such as multi-linear narrative, recall narrative, annular structure narrative, chaotic linear narrative and flashback. The fourth chapter combs the different manifestation forms of experimental animation in different stages from the micro angle and the enlightenment to the experimental animation today.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J954
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