论文部分内容阅读
我们的话题是从当下电影状况的讨论开始的。最近有一个话题,说中国商业动画的一个重要问题是不会讲故事,“动画也要讲故事”。于是大家谈到出现这个问题的原因,是很多动画师起步于平面绘画,缺乏电影的视觉训练。这样的结论也许失之偏颇,其实电影圈内这些年也在谈“讲故事”的问题,非动画界所独有。但是动画的问题仍然有独特性,最近的创作群体里,相当一部分人是从绘画,从各个艺术学院的美术专业转行而来的,我们觉得这个现象值得关注。From frames to video,从平面美术的营造到动态影像的制造,这里面是否需要完成一种思维的转换?动态影像比静态绘画添加了时间、空间和声音的元素,它都和平面的感觉完全不同。我们如何利用这些元素来组织一次顾畅的素质优良的叙事?于是我们让一些有动画经验和做理论研究的朋友,来着手谈论这一话题。
Our topic begins with the discussion of the current movie situation. There is a topic recently, saying that one of the important issues in commercial animation in China is that it does not tell a story, and “animation tells a story.” So everybody mentioned that the reason for this problem is that many animators started out in plane painting and lacked the visual training of movies. Such a conclusion may be biased, in fact, the film industry is also talking about these years, “storytelling,” the problem, non-animation industry unique. However, the animation issue still has its uniqueness. In the recent creation groups, a considerable part of them are from the art of painting and art major from various art schools. We think this phenomenon deserves our attention. From frames to video, is there a need to complete a conversion of thinking from the creation of graphic art to the production of motion pictures? Dynamic video adds elements of time, space and sound more completely than plane paintings . How can we use these elements to organize Gu Chang’s excellent narrative? So we let some friends who have animation experience and theoretical research to start talking about this topic.