摘要
2015年之后,中国动画电影的不断发展与创新,其美术表现也愈加出彩。电影美术是为电影拍摄和制作进行的一种特殊的艺术设计,是艺术设计在电影领域内应用的具体表现形式,是银幕影像剧作视觉化、空间化的重要载体。本研究以《长安三万里》为事例,从当代中国电影美术创新理论层面上寻找中国动画电影美术创新的理论实践。研究发现,该动画尊重历史,有史可鉴,并且大胆跳出现代审美。将传统文化精粹融入电影美术中。通过物的隐喻、景的隐喻和色的隐喻等方式实现了影像世界对客观世界的仪式化表现。同时,使用了一系列“共时性”和“狂欢化”的审美特征对常规设计语言和创作形式进行大胆对立与反叛。
Since 2015,Chinese animated films have witnessed continual progress and innovation,which leads to impressive artistic expression.Film art design stands as a special form of art created for film production,and it is important for bringing screenplays to life visually and spatially.This study uses Chang An as a case example to investigate how artistic innovation is applied in Chinese animated films from the theoretical perspective of contemporary Chinese film art design.The research findings indicate that this ani-mated film respects history and refers to historical facts,while boldly stepping beyond modern aesthetics.Specifically,it combines traditional cultural essence into film art design.With metaphors in regard to objects,scene,and colors,the film creates a symbolic representation of the real world.In addition,it features unique aesthetic traits like"synchronicity"and"carnivalization"so as to challenge standard design language and creative methods.Moreover,the traditional artistic expression styles used in the animation should match the themes.
作者
王巍
李文尧
Wang Wei;Li Wenyao
作者简介
王巍,博士,清华大学美术学院副教授,博士研究生导师;李文尧,清华大学美术学院在站博士后。
