本文選題：東歐動(dòng)畫(huà)　切入點(diǎn)：“織體”　出處：《當(dāng)代電影》2017年11期 　論文類型：期刊論文

【摘要】：本文希望借用音樂(lè)中"織體"概念來(lái)分析社會(huì)劇變后東歐動(dòng)畫(huà)長(zhǎng)片在結(jié)構(gòu)和合作方式上的多元性,分別通過(guò)寓言的"織體"、解構(gòu)的"織體"和艱難的"織體"分析東歐動(dòng)畫(huà)長(zhǎng)片的敘事結(jié)構(gòu)、戲謔經(jīng)典和重審歷史等特性,并討論近年來(lái)東歐動(dòng)畫(huà)長(zhǎng)片涌現(xiàn)出的一批具有跨界身份的動(dòng)畫(huà)導(dǎo)演及其作品。東歐動(dòng)畫(huà)長(zhǎng)片不僅以多種"織體"方式結(jié)構(gòu)與展現(xiàn),也激發(fā)了多國(guó)合作和聯(lián)合制片的實(shí)驗(yàn),這恰恰可以視作對(duì)好萊塢動(dòng)畫(huà)工業(yè)的抵抗,也是對(duì)人們感慨"東歐動(dòng)畫(huà)不復(fù)輝煌"的反擊。
[Abstract]:This paper hopes to use the concept of "texture" in music to analyze the diversity of the structure and cooperation mode of the Eastern European animation feature films after the social upheaval. Through fable texture, deconstructed texture and difficult texture, this paper analyzes the narrative structure, playful classics and reexamination of history of the animated feature films in Eastern Europe. It also discusses a number of animation directors and their works with cross-border identity that have emerged in recent years in the Eastern European animated feature films. The Eastern European animated feature films are not only structured and displayed in a variety of "texture" ways, but have also inspired multinational cooperation and joint production experiments. This can be seen as the resistance to Hollywood animation industry, but also to people's feelings that "Eastern Europe animation is no longer brilliant."
【作者單位】： 中國(guó)人民大學(xué)藝術(shù)學(xué)院;
【分類號(hào)】：J954
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本文編號(hào)：1595783