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1、日本艺术和动画卡通外文翻译 本科毕业论文外文翻译外文题目: Japanese Art and the Animated Cartoon 出 处: The Quarterly of Film Radio and Television 作 者: Taihei Imamura 原文: Japanese Art and the Animated Cartoon TAIHEI IMAMURA is one of Japans leading motion picture critics and has written a number of books on the social and aesthet
2、ic aspects of the film, as well as editing Eiga Bunka Movie Culture, the only motion-picture magazine in Japan. The following article, which was translated from Japanese by Fuyuichi Tsuruoka, is to appear as a chapter in Mr. Imamuras On the Animated Cartoon. THE ANIMATED CARTOON has made little prog
3、ress except in America, but the popularity of Disney films, rivaled in universal appeal only by the films of Chaplin, gives reason to hope that there will be a world-wide development in the field of animation, each country adapting the techniques of animation to its own artistic tradition Unfortunat
4、ely, the Japanese animated cartoon is not as unique an art as that of America despite the fact that Japanese art in the past was distinguished by its originality. It may well be that ancient Japanese art, considered critically, is the art of a less advanced society, but this does not mean that a Jap
5、anese style of animation can or should dispense with it. Whether we like it or not, traditional art must be the foundation of a truly Japanese animated cartoon. Originality in the new form will not be attained by ignoring the past, for the animated cartoon, like other modern forms of art, is a devel
6、opment of inheritances from the past. It has been pointed out by S. M. Eisenstein that ancient Japanese art has characteristics closely related to those of the animated cartoon and employs similar methods The Japanese picture scroll, considered as a picture story, is actually a distant antecedent of
7、 the animated cartoon, the first attempt to tell a story with a time element in pictures. The chief difference between the animated cartoon and the picture scroll is that the individual pictures in the scroll do not move. On the other hand, neither does the single frame of a motion picture. The illu
8、sion of movement results, in both forms, from the differ-ence between each picture and the one that follows. Each picture whether in the picture scroll or the movie is inanimate, a still of arrested motion. When the pictures are seen in time, one after another, they seem to move. That objects and pe
9、ople appear to have motion is secondary; the essential movement is the progress of an idea. A representation of mere motion is not art unless it advances an idea, or is the visual image of original and creative thought. Both the motion picture and the Japanese picture scroll are plastic expressions
10、of ideas, and consequently, though the picture scroll is centuries old, have fundamental techniques in common To illustrate, a Japanese picture scroll shows the opposite sides of a battleship simultaneously although the ship is in a position where only one side could actually be seen. By the ordinar
11、y laws of perspective, we cannot see the opposite side of an object, so the battleship is drawn twistedly. This is a negation of a monistic visual angle and of common sense. It is the same method as that of Futurism or Cubism To let us see both sides of an object from one point of view is to reveal
12、the side which is ordinarily unseen or that we do not expect to see. The one side is real and the other is unreal, so that the unreal side should be considered to exist through the real one, to be predicated upon the real side as probable or neces-sary. It is an imaginative unification of both sides
13、, distorting perspective to express an idea Double exposure in the motion picture serves the same pur-pose, allowing us to see both sides of one thing at the same time, or two objects in different places at the same time Both the motion picture and the picture scroll have other tech-niques that over
14、come the physical limitations of the human eye. The motion-picture montage is essentially the same as the un-synchronized revolving method in the picture-scroll drawing, for example, and the cutback also has its counterpart in the scroll. In the picture scroll and the motion picture we can see the l
15、iving conditions of a man in the city and his lover in the country synchronously, alternately, and in parallel. Obviously, what we see in the scroll exists only in our minds; but the same is true of the motion picture, even though it shows us real objects and people and places. It is not because the
16、y are often part of an imagined story. A newsreel montage of London, Tokyo, and New York shows us real cities, but to see New York one moment and Tokyo the next is inconsistent with reality, and demands that we accept a negation of time and space. In a sense, then, double exposure, montage, and cutb
17、ack are techniques which transform reality into idea What we actually see in a motion picture or a picture scroll is the visualization of an idea. It does not matter whether individual shots and drawings are literal representations if they help to reveal the idea. For example, the Fukinukiyakata no-
18、roof-house-picture in the picture scroll allows us to look down from above on a roofless house with the interior plainly visible. In the real world, houses are roofed, but in the world of the picture scroll we accept the roofless house as real. In fact, in our imagination, the house is roofed, but w
19、e are able to see through it. Similarly, in the motion picture, we may view a room full of people from above, as in The Merry Widow 1934, in which a ballroom scene is photographed from the chandelier. In our imaginations, it is not the camera but we, ourselves, who view this scene from above. Only i
20、n the imagination can one stride over the mountain or fly over the fields quite freely, as in the picture scroll of Shigisan Temple, or in the many modern motion pictures in which we see objects from all angles. The camera, too, lets us fly over fields. The distortion of reality is more apparent in
21、the picture scroll because it becomes, frequently, a distortion of perspective. For example, to achieve an effect similar to that of the motion-picture close-up, picture-scroll artists drew some figures extraordinarily large in comparison with the objects surrounding them. The best examples are in t
22、he mountain hermitages seen in the Shigisan- Engi and the figures praying on the summit in the Egaratenjin- Emaki. Perspective is intentionally disregarded and the figures ex-aggerated so that the eyes are attracted to the most important ones; the human figures gradually become larger than the mount
23、ains, which finally seem no larger than those of a miniature garden It is no accident that the picture scroll and the motion picture use similar techniques. Both must be dynamic in order to develop a story moment by moment, attracting and holding the spectators interest in picture after picture. The
24、 Bandainagon Ekotaba pic-ture scroll, for example, opens with a picture of men rushing to and fro. They frown, cry, wave hands, and point toward some-thing. More men appear, and the excitement increases. We see a gate and the uproar comes to a cli. Some of the throng climb a stone hedge. Suddenly, t
25、hrough the gate, black smoke appears and flames leap against a long line of people. Next moment we see that the open gate is aflame The rapid tempo of the fire scene helps to create the impression of people rushing about and, what is more important, speeds the development of the story toward a cli.
26、Most American movies attract interest through just such direct and rapid plot develop-ment in the opening scenes. In the further development of the plot, the picture scroll uses a technique similar to the motion-picture montage. The action is abbreviated and the clies of several scenes are presented
27、 in quick succession. Sometimes this technique of abbreviation is used to show the passage of time, as in a pictorial biography of St. Ippen in which, between pictures of action, is a picture of a running stream and pampas grass waving in the wind, indicating a passage of time. The next picture show
28、s a priest lying on his deathbed surrounded by grief-stricken people. The next picture shows only the saints face covered with a white cloth. He is dead It seems clear enough that there are strong resemblances between some aspects of the Japanese picture scroll and the modern motion picture. The Jap
29、anese animated cartoon should use, in the modern medium, the traditions it inherits from the past. The most important thing the Japanese animated cartoon can learn from the picture scroll is its use of imaginative power. The scroll came out of a backward and stagnated feudal Japan; under such oppres
30、sion people generally find release in their imaginations rather than in reality. When the picture scroll presented real scenes as though viewed from high above, it implied a celestial point of view, expressing the idea that salvation should be sought in the unearthly world The heavier the oppression
31、, the more people escaped to such salvation and lived in their imaginations. Yet even in the most imaginative scrolls a concern with the realities of life shows itself. Imagination does not necessarily make us forget realities but can stimulate our awareness of them. The picture scrolls that excel i
32、n imagination excel also in realism Among these are Choju Giga Zukan picture scroll of birds and beasts, Gaki-Zoshi storybook of famished devils, and Hyakki- Yako-Zu-Emaki picture scroll of pandemonium. The animals in Choju Giga Zukan are anatomically correct, but the scroll depicts the corrupt livi
33、ng conditions of the aristocracy and clergy in the end of the Heian era, a thousand years ago, by showing the rats in full court dress and the frogs wearing red skirts with lotus leaves in their hands, and so on The Gaki-Zoshi pictures not only famished devils but actually the starving people in the
34、 Kamakura era, four hundred years ago. The abominable group of famished devils, their hands and feet thin, like dead branches, bellies strangely swelling, hair growing disheveled, and uncanny eyes shining in vain, cannot fill themselves. The more they eat, the hungrier they become; the more they dri
35、nk, the thirstier they are. They are avarice itself, sauntering hither and thither only to eat and drink. They grasp every filthy thing. Because everybody recognizes that these ugly devils lie hidden in his soul, the ghostly scenes terrify us even now. Here are depicted the real vices through the de
36、vils of an unreal world. The Hyakki-Yako-Zu-Emaki is a caricature of the Tokugawa era of the eighteenth and nineteenth centuries. At the beginning of the scroll we see a big toad dragging a handcart to a feast. A rat is pointing ahead. Two others, holding a sutra desk, stand on either side. On the f
37、ront of the cart, a long-nosed goblins face is peeping out; from its back window a moon-faced woman is smiling evilly. Under her exaggeratedly separated eyebrows are crescent-shaped eyes and a dumplinglike nose stuck on to the flat face as if blown there by the wind. The painter obtains an effect of
38、 evil by showing this terribly unbalanced face from the window. Later, in a scene of a revel, the utensils are personified. There are con-fused candlesticks with faces and hands, bells with eyes and noses, whistling wine cups, and dancing tops of fence posts, centering around the long-nosed goblin a
39、nd the moon-faced woman. A hatchet with eyes, putting on armor, advances toward a dead tree that is holding up both hands, about to run away. Through such scenes the picture scroll describes a feudalistic monarchs self-satisfaction, his retainers ignorance, and their corrupt living con-ditions. The
40、scenes are full of fun rather than mystery, but we find nothing humorous in them at all. The drawing style of the pictures corresponds to the content; there are no straight lines but only lines that express ripeness and decomposition. The living conditions and feudal atmosphere are made more vividly
41、 real by being presented imaginatively. When the modern Japanese animated cartoon portrays mans real inner feelings and desires with this kind of imaginative power, it will become an art of a higher order译文:日本艺术和动画卡通 太平今村是日本著名的电影评论家之一,他撰写了大量关于社会和美学电影方面的书籍,以及编辑Eiga日本文化(电影文化),该杂志是日本唯一的具有运动画面的杂志。下面的文章是
42、由鹤冈冬一先生从日语中翻译过来的,作为一章记载在今村先生卡通影片中。动画片在美国取得的进步很小,但是迪斯尼电影的人气,在普遍的吸引力方面不亚于卓别林的电影,这使得人们有了充分的理由相信,美国在动画领域将有世界性的发展,每个国家都要适应自己国家传统动画艺术的技术。 不幸的是,日本动画卡通不像美国动画那样独特,尽管在过去日本艺术在创意方面是很杰出的。很可能是古老的日本艺术,批判性的被认为,是一个不太发达的社会的艺术,但是这并不意味着日本的动画风格可以或者应当摒弃它。不管我们喜欢与否,传统艺术一定是一个真正的日本动画卡通的基础。新的艺术形式独创性的获得不会以忽略动画片的过去为代价,达到像其他现代艺术
43、形式的动画卡通,这是一种通过继承过去发展的艺术形式。据日本的钐爱森斯坦指出日本古代艺术的特点与现代动画片的特点及采用类似的方法有着密切相关的联系。 日本画卷,作为一个图片故事考虑,实际上是动画卡通,第一次尝试在图片中讲述一个与时间有关的故事的遥远的前身。动画片和画卷的最主要区别是,个别图片在画卷中不能移动。另一方面,也没有一个电影单帧。对运动结果的幻想,有两种形式,彼此之间图片差异和后面一个的差异。每张照片(不论画卷或电影),都是无生命的,也是一系列被捕捉的运动。当这些照片一个接着一个适时的看到时,他们看起来在运动。这物品和人看起来有运动是次要的;这基本的运动是一种思想的进步。一个单纯的运动的
44、表现不是艺术,除非它是进步为一种思想,或者是原始和创造性思维的视觉形象。无论是电影和日本的画卷,都是可塑的思想表达方式,因此,虽然是百年的历史画卷,具有共同的基本技术。 为了说明这一点,一张日本画卷展现了战舰的一面,与此同时虽然该船舶在一个只有一面的位置实际上可另一面也可以被看到。通过普通法律的角度,我们看不到事物的对面,所以战列舰被绘制的很别扭。这是一种对一元论的视角和常识的否定。这与未来主义和立体主义的方法相同。 让我们看到一个事物的两个方面,一种观点是揭示的一方通常是看不见的,或者我们不希望看到的。一方面是“真实”,另一个是“虚幻”,所以“虚幻”的角度应被视为通过“真实”存在。根据事实预
45、测为可能或着必须的真实的一面。这是一种富有想象力的两种观点的统一,以扭曲的角度来表达一个想法。 双曝光在服务于电影的同时出于相同的目的,让我们看到在同一时间,一个事物的两个方面,或两个在同一时间不同地点的对象。 电影和画卷都拥有着能克服人眼的物理限制的其他技术。电影蒙太奇本质上采用的是非同步绘制画卷的方法,例如,而削减也有其对应的滚动。在画卷和电影里,我们可以看到,一个男人在城里的生活条件和他的爱人在全国同步,交替和并行。显然,我们在画卷中看到的存在只存在于我们的脑海中,但是相同的电影中的情景却是真实的存在的,虽然它告诉我们真实的事物,人物的和地点。这并不是因为他们往往是一个想象的故事的一部分
46、。一部关于伦敦、纽约和东京的纪录片,告诉我们真实的城市,但要看到,一会儿纽约和东京的未来是与现实不符,并要求我们接受的时间和空间的否定。从某种意义上说,那么,双重曝光,蒙太奇,和削减技术的是从现实转变为想法。 我们在电影和画卷中看到的是一个想法的可视化。无论是个人照片和图画都是文字表述如果他们有助于揭示想法。例如,在Fukinukiyakata(无屋顶的房子,照片)的画卷让我们从一个没有屋顶的房子上面往下看,内部清晰可见。在现实世界中,房子都是有屋顶的,但是我们能通过它看到。同样,在电影中,我们可以从上面看到一个房间中挤满了人,如风流寡妇(1934年)中,其中一个舞厅场景是从吊灯上拍照的。在我
47、们的想象中,它不是摄像头,但我们自己,谁又从上面查看过这样一幕。只有在想象中,才能相当自由的跨越或飞越山区的领域,就像画卷中的Shigisan庙,或在许多现代电影中,我们从各个角度看到的事物。该相机,也让我们飞越领域。对事实的歪曲,在画卷中显得更加的明显,因为它频繁地失真透视。例如,要达到的类似的效果,画面特写,图片滚动的艺术格特别的描绘了一些数字,与在他们周围的事物相比较。最好的例子是在山秘境看到的关于Shigisan的起源,在Egaratenjin Emaki峰会祈祷的数字。观点是故意无视和数字的夸大,使眼睛被吸引到最重要的地方,人类的数字逐渐的变得比山还大,最终似乎变得并不比那些较大的盆
48、景大。 日本的画卷和电影使用相似的技术并不是偶然的。两者都必须是动态的,为了时时刻刻的发展一个故事,用一幅幅的照片吸引和掌握观众的兴趣。那幅Bandainagon Ekotaba 的画卷,例如,有人急于打开衣服画卷。他们皱眉,哭泣,挥手,用手指向一些东西。更多的人出现了,兴奋也相继的增加。我们看到骚动到达了一个高潮。有些的人群爬上石头冲。突然,浓浓的黑烟和火焰穿过大门,窜向长长的人群。下一刻,我们看到了打开门正燃烧着。 在火灾现场快速的节奏有助于创造人们忙于奔波的印象,以及更重要的是,加快了故事的发展走向一个高潮。大多数美国电影引人注目是因为通过在开放的场景中直接和快速的剧情发展。 在情节的进
49、一步发展中,画卷使用的技术类似于电影里的蒙太奇。该情节被缩短和几个场景的高潮以快速交替的方式呈现。有时候,这种缩写的技术,被用来表示时间的推移,如在图案StIppen传记中的图片之间的行动,是一个正在流动的溪水,和风中的潘帕斯草原,显示了时间的飞逝。下图为一名牧师临终前躺在了伤心欲绝的人群包围中。下一张图片显示,只有圣人的脸上带着白布覆盖。他死了。 这似乎足够的清晰,这里有强烈的相似之处在日本的画卷和电影方面。日本动画片应该运用现代的媒介使用它过去的传统的继承。最重要的日本动画片可以从画卷中借鉴的是对其想象力的使用。画卷向后展开伴随着日本封建的停滞;在这样的压迫下,人们普遍的释放他们的想象而不求实际。当画卷呈现从高处呈现一个真实的场景,它意味着一个天空的角度来看,表示希望救亡和寻求在梦幻世界的想法。 较重的压迫,使得越来越多的人找到那样的躲避方法,他们生活在他们的想象中。然而,即使是最富有想象力的画卷也关注着真实的现实生活。想象并不一定能使我们忘记现实,但可以激发我们对它们的认识。画卷,胜过于想象也胜过于现实。 其中有Choj
