1、 中文 3390 字 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 aestheti
2、c 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 pro
3、gress 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. Unfortun
4、ately, 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 J
5、apanese 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 dev
6、elopment 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
7、 of 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 i
8、llusion 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 a
9、nd people 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 express
10、ions 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 o
11、rdinary 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
12、reveal 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 bot
13、h sides, 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
14、that overcome 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
15、see the living 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 be
16、cause they 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,
17、 and cutback 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 Fukinuki
18、yakata (no-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 r
19、oofed, but we 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
20、 above. Only in 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 mor
21、e apparent in 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 exa
22、mples are in the 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 mountains, which finally seem no larger than those of a miniature garden.
