动画论文外文翻译

外文文献翻译译文：看电影的艺术1930年代中期，沃尔特·迪斯尼才明确以动画电影娱乐观众的思想，动画（不再是其他剧情片的搭配1937画艺术家们。1940年，这一年作为迪斯尼制片厂的分水岭，诞生了《木偶奇遇记》和《幻想曲>。这些今天成为经典的作品在接下来的二十年中被追随效仿，·19661989（animation，从该片开始，出现了一系列令人惊叹不已的音乐动2000（IMAX）征。乔治·是成人，而不是儿童。很多现代动画剧情长片，在一定程度上都有黑色（有时甚至是毛骨悚然的1955·拉塞特为他的皮克斯动画工厂执导，这正是一2》进一步表明了影片创作者对表现人性更阴暗一面的兴趣。皮克斯（现在已被迪斯尼公司拥有）2006（更不必说它还是犹太教和基督教共有的圣典凯特辛蓓阁和大卫格芬组成的梦工厂创作团队断然拒绝授权·艾尔伯特品予以热烈追捧。约瑟夫·M.博格斯 丹尼斯·w.皮特里 《看电影的艺术》2006.12原文：Theartofwatchingfilmsmid-1930sthatWaltDisneybecameobsessedwiththeideaofentertainingviewerswithanimatedfilmsthatwerethemselvesthemainPremieringinlate1937,Disney'sSnowWhiteandtheSevenDwarfssetrigorouslyhighstandardsthattodaystillguideanimationartists.Likethepuppetshowsfromwhichtheyevolved,theDisneystudio'swatershedyearof1940,bothanimatedfilmshavelongbeenseriouslyem-PinocchioandFantasiaappeared.Thesenowbracedbytheworldofinternationalart.Infact,classicworkswerefollowedduringthenexttwoasBaseline'sEncyclopediaofFilmindicates,decadesbyaseriesofpopularanimatedenterthefirstanimationswerealsothefirstmovetainments(includingDumbo,Cinderella,Aliceinpictures.VictorianopticaltoyssuchWonderland,PeterPan,andLadyandtheTramp),whosestoriesfrequentlyoriginatedinwell-knownasconversationpiecesparlors..literarynarratives.Theleast-accomplishedofnormallycontaineddrawingsthesemoviesappearedtobetargetedmorepro-depictingsucceedingstatesofanactiongressivelyatyoungeraudiences.AfterDisney'sdeathin1966,hisstudioconducedanillusionofmovement.14tinuedtomakedrawnanimatedfilms,butthecreativeenergylessened,andthecompany's.Laterinthenineteenthcentury,theillu-focusshiftedtoproducinglive-actionfilms.SionsproducedthroughthesesimpledrawingsThen,forthechildinallofusagain,Disneyan-ofearlyanimationdevelopedintothoseofstillimationwasgivennewlife(asthewordanima-photographsbeingmanipulatedswiftly,eithertionitselfisdefined)in1989byTheLittlemechanicallyorviaprojection.AsthecinemaMerniaid,whichledanastonishingstringofnewprogressedalongmoreorlessrealisticlines,musicalanimatedfeatures.Twoyearslater,though,suchanimationpioneersasWinsorBeautyandtheBeastemergedfromanartisticMcCay,aNewYorknewspapercartoonistbestprocessthatutilizedcomputerstoassistintheknownforhisGertietheDinosaur(1914),beganconventionaldrawingtechniques,andthefilmtoexplorepossibilitieswithinthefantasyworldswonanAcademyAwardnominationforBestofanimatedfilm.By1928,whenWaltDisneyPicture,thefirstsuchaccoladeforananimatedcreatedSteamboatWillie(andfirstintroducedfeature.Likethesetwofilms,thebestonesthattheworldtoatalkingMickeyMouse),animatedfollowed—includingTheLionKing,Aladdin,andshorts,shownbeforefeaturefilms,werealreadyMw/an—continuedtheclassicDisneyconven-beingproducedinabundancebysuchartiststions:boldvisuals,shrewdscripts,andboththeasMaxFleischer(creatorofBettyBoop)andmaticuniversalityandsurprisethatwefindinallWalterLantz(WoodyWoodpecker).Laterthegreatfilms,animatedorotherwise.Disney'sWarnerBrothersluminariesChuckJones,TexnewerversionofFantasia,calledFantasia2000,Avery,andFritzFreleng(amongmanyothers)incorporatedsegmentsfromthe1940versiongaveaudiencestheenergeticanticsofawholewithnewlycreatedones(and,accordingtoDis-stableofanimatedpersonalities,includingBugsneyexecutives,wasthefirstfeaturefilmtopre-BunnyandPorkyPig.Butitwasnotuntilthemiereinthegiant-screen^AXtheaters).HenrySelickdirectedbothTimBurton'sTheNightmareBeforeChristmasandJamesandtheGiantPeach—theformerastop-actionfilmthatiswhollyoriginalandsometimesimmenselyfrighteninginitsimages,thelatteranadaptationofRoaldDahl'spopularchildren'sbookthatbeginsinliveactionandseguesimpressivelyintostop-actionanimationbeforereturningtoliveactionatitsend.JamesandtheGiantPeachpullsnopuncheswithitspresentationofviolenceanditstreatmentofmonumentalfears(abandonment,forexample)thatarenolessvividlyrealforadultsthanforchildren,andjustthetitleof"adult"natureofitssubjectmatterandhumor.GeorgeMiller'scharmingBabe(1995),nominatedforaBestPictureOscar,anditscriticallyacclaimed,poorlyreleased,andlittle-seensequel,Babe:PigintheCity(1998),bothcombineliveaction,puppets(intheformofintricateani-matronicdevices),andcomputeranimation.PublicreactiontothecomicviolenceinvolvinganimalsinPigintheCityensuredthatitssmallandprimaryaudiencewouldmostlikelybeadults,notchildren.Throughoutmanymodernanimationfeatures,acertaindark,sometimesevenmacabre,humorabides.Asimilar"adult"amusementhasalsobecomeastapleinthethirdandlatesttypeofanimatedfeaturefilm,whichisgeneratedsolelybyartfilteredthroughcomputertechnology.Thisprocessoftenappearsalmosttosynthesizetliesmoothmovementofdrawnimagesandtheplasticsurfacesofstop-motionpuppets.Thefirstsuchfilm,1995'sToyStory,directedbyJohnLasseterforhisPixarstudio,containsthesortofgentlesatirethatwehavecometoexpectinchildren'sfilms.Butitalsopresentsasequenceinwhichachildplayswithdollsthathavebeenmutilatedandreassembledinmonstrousnewshapes.Andtheexcellentsequel,Story2(1999),providedfurtherevidenceofitscreators'interestinthedarkersideofalllifePixar(nowownedbyDisney)hasalsoproducedMonsters,Inc.,whoseloveablemonstersappealedtochildrenwhileitssatirichumorwasclearlyaimedatadults,andotherlargecommercialandcriticalsuccesses,includingFindingNemo,TheIncredibles,and2006'sCars.Finally,ifweseekproofthatcontemporaryanimatedfeaturefilmsnowinviteadultstobeamajorpartoftheiraudience,weneedonlyturntoThePrinceofEgypt,(Figure5.42).Hereisamoviethattakesasitssubjectoneofthemostarchetypalnarrativesofworldmyth(nottomentionJudeo-Christianscripture)and,inaddition,envisionsitsMoses-ledcharactersthroughimmenselystylizedandsophisticatedvisualmodes(includingelongatedElGrecofaces).Further,weimmediatelyrecognizedthattheani