| Japanese animation is second to none in the world:in terms of artistie level and maturity of the development of animation industry.The 1970s witnessed the vigorous development of Japanese TV animation and was a transitional period of the animated films.After the film "Space Battleship Yamato" of 1974,Japanese animation began to enter a mature period.From then on,TV animation and animated films have formed their own unique mechanisms and developed maturely,which can be completely separated to compare with each other.Japanese animation began to flourish after the transitional period in the 1970s and gradually formed a mature and stable market model.The plot,content,depth of thinking and picture quality also reached a very high level.Since the new century,on the basis of the high prosperity of TV animation in Japan,there are thirty or forty animated films produced every year.From production to marketing,an integrated industry chain has been formed,which is an important part of Japanese films.Among them,theater animation production mode is an effective means for Japanese animation films in the fierce competition of film market.Deeply speaking,Japanese "animation" and its derivatives are important carriers of national culture and history.Since the 1980s,the Japanese government has been focusing on the formulation and guidance of the policy of"Building up the Nation with Culture".Its cultural industry has developed into a basic industry of equal importance with traditional industry.Japanese animation has developed into a huge industrial cluster and built up its own unique symbol representation system with its unique creative concept,production technology,eclectic value orientation and variegate business model.Studying it will help us to improve our understoding of Japanese culture and history and learn from their experience.This paper introduces the research direction of "scenery" into the image analysis of Japanese animated films and considers the Japanese animated movies after 1974 as a whole."Landscape" has the characteristics of mobility and cluster.Taking"Landscape" as the pointcut,it conforms to the characteristics of Film Aesthetics of Japanese animated films with the characteristics of typicality and generality.At the same time,as a cultural code and media,landscape images have strong cultural genes and aesthetic characteristics under the characterization of the local characteristics of clustering images.Besides the basic function of film language,it has the function of cultural metaphor and cultural reflection function.Animated film is one of the most direct mediums of feedback for technological aesthetics and also an important carrier of Japanese national culture and history.The fluidity of "landscape" reflects the changes of landscape images.To a certain extent,the changes of landscape images show the development trend with certain regularity.of the technical means of Japanese animated film and the changes of artistic culture of Japanese animated film itself.This paper takes "landscape" as the pointcut to analyze the presentation of the landscape images in Japanese animated movies.As a cultural code and medium,it carries the cultural meaning and the development process of the "landscape" images,as well as the cultural internal causes of the formation of the representation of the landscape images.It is divided into five parts.The first part is the introduction,which mainly discusses the basic research perspective of Japanese animated film and"landscape".The first section is to define the research object and concept.First of all,the research scope of this paper is determined by discussing the definition and development of Japanese animated film.Secondly,the definition,theory and context of landscape are roughly sorted out.The second section is a review of the academic history.The research on Japanese animated movies and landscapes is summarized from overseas and domestic research topics and achievements.The third section is about the research methods and significance and discusses the main research methods and the focus and structure of the paper.The first chapter is to classify and sort out the cluster representation of "landscape" images in Japanese animated films.Based on the antagonistic relationship between nature and humanity,fantasy and reality,the landscape images in Japanese animated films are divided into natural scenery and humanistic scenery,fantasy scenery and realistic scenery.The common local cultural symbols and modem urban landscape images in Japanese animated films are enumerated and analyzed.The second chapter mainly analyses the audiovisual language features of Japanese animated film "landscape" images,which appear in Japanese animated films.With the help of lens language,the deep connotation is visualized and materialized.The main feature is hand-painted way of returning to reality with emphasis on details and real-scene shooting:pursuing reality and texture of background,perfect combination of 2D and 3D,creative techniques of vertical painting,allusions,graphic design and so on.The third chapter is about the cultural changes of landscape images in Japanese animated movies.The cultural changes of landscape images in early Japanese animated movies are also the artistic soil and dynamic structure formed by the aesthetic style of Japanese animated movies,landscape images.The characteristics of landscape images in texts and the way of picture presentation start from "cartoon" landscape images.With the influence of Anerican Disney animation leading the world and Chinese animation in the same period,the diversified themes and realistic style of landscape images were formed.With the advent of the digital era,in addition to the diversification of the material presentation of traditional and modem landscape images,first of all,TV animation has a great impact on the landscape images in animated films,especially the theatre version animation,which accounts for half of the Japanese animated films.Secondly,in the process of cross-media adaptation,the light culture based on "light novels" as its main feature has formed a landseape images distinguished by intuition(de-weighting),instantaneity and fragmentation,which cater to the thinking mode of audiences of the younger generation and also bring about the assimilation and alienation of the traditional branch of shadow aesthetics in the landscape image of animated movies.In the context of media convergence,the cross-media creation and dissemination of Japanese animated movies is the comprehensive development of cultural resources and IP,forming a certain scale and relatively complete industrial chain and deriving a unique form of dissemination and consumer market.The eoncept,style and aesthetic characteristics of the film have changed in the process of cross-media interaction,forming some new mechanisms and characteristics.The fourth chapter discusses the cultural gene of the formation of animated film"landscape" image.According to the thread of tradition,present and future,it analyses the correlation between Japanese animated film and Japanese culture. |
PDF Full Text Request