【作者】 孙振涛；

【导师】 聂欣如；

【作者基本信息】 华东师范大学 ， 文学与传媒， 2011， 博士

【摘要】 上世纪九十年代中期以来,3D动画电影发展迅猛,已迅速崛起成为当下最具吸引力的动画电影类型。与创作实践相比,3D动画理论研究相对滞后,多技术应用开发而少理论文化梳理,3D动画电影亟需进行系统理论整合。本论文借助影视艺术和文化理论,通过对3D动画电影本体和文化层面的分析,力求建构3D动画电影研究的文化维度。3D动画电影的本体可从概念、类型、审美特质和文化逻辑四个层面进行廓清。在概念上3D动画需要与“三维动画”、“电脑动画”、“3D电影”等常被用来替代使用的类似概念进行辨析区分,并从技术和艺术两个层面进行界定；在“动”和“画”两个方面,3D动画以其不同于被拟仿媒体的“差异”质素获得其作为类型确立的合法性依据；“视觉真实感”的审美特质使3D动画在视觉奇观和感性彰显上得到强化；从动画电影的发展史进行纵向分析,3D动画则呈现出鲜明的“去分化”文化逻辑。作为从传统动画形态演化而来的动画类型,3D动画一方面受到传统动画惯例规范的规约与限定,另一方面又因数字技术的价值负载体现出美学创构倾向。规约与创构,形成3D动画电影的审美张力。追溯3D动画及其美学生成的社会文化根源,数字化生存、美国动画境遇、消费社会与“视觉文化转向”,以及后现代社会情感向度四个社会文化因素对3D动画及其美学构成形塑。作为大众艺术形式之一种,3D动画电影无法规避接受语境对其文化生产所具有的限定作用,并以文本自身完成对社会文化语境的文化表征。“意”的消泯、“距离”的消泯、“主体”的消泯等,均遵循着这一逻辑,并表征其社会文化特征,同时,3D动画因其作为单向度“肯定的文化”性质以及文化帝国主义色彩,体现出鲜明的意识形态功能。3D动画电影的发展亟需表征重建,重建的可能空间存在于萨义德所谓的“业余者”式知识分子和3D动画技术自身的解放力量“视界融合”之处。更多还原

【Abstract】 Since the mid-nineties of last century,3D animated film has developed rapidly. It has quickly emerged as the most attractive animated film type. Compared with the creative practice, the theoretical research of 3D animation lags behind. Most of the researches which belong to the technology research are lack of theoretical and cultural analysis,3D animated film needs for systematic theory integration urgently. This dissertation strives to build the cultural dimension of 3D animated film study through the analysis of its ontology and cultural on the base of the film theory and cultural theory.The ontology of 3D animated film can be analyzed through the concept, type, aesthetics and cultural logic.3D animation needs to be distinguished in concept between those similar concepts often used to replace it as "three-dimension animation", "computer animation", "3D movie" and to be defined from the technical and artistic.3D animation is distinguished as a legitimate type because of its difference from model-media in the "moving" and "painting".The aesthetic qualities of "Visual realism" strengthen 3D animation in the visual spectacle and the emotional highlight.3Danimation has a distinct cultural logic which shows the "dedifferentiation" on the longitudinal analysis of the history of animated films.As the animation type evolved from the traditional animation,3D animation is limited by the constraints and the norms of traditional animation on the one hand. While the other hand, it has the tendency of aesthetic innovation because it overloads the value of digital technology. Statute and Innovation form the aesthetic tension of 3D animated film. On trace of the resource of the social culture, being Digital, the situation of United States’animation, the consumer society and its "Visual Culture" and the emotional dimensions in post-modern social shaped the 3D animation and its aesthetic form. As one kind of popular art,3D animated film can not avoid to accepting their cultural context which has limited the role of production, and represents its social and cultural context. The "meaning", the "distance" and the "object" becoming weakened all follow this logic and represent the social cultural characteristics. At the same time 3D animation shows the distinct ideological function because of its one-dimension "affirmative culture" and cultural imperialism.The healthy development of 3D animated film needs reconstruction. The possibility of reconstruction exists in the combination of the so-called "amateur-style" intellectuals and the liberating power.更多还原