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1、外文文献翻译2.5.1 译文：看电影的艺术1930 年代中期，沃尔特迪斯尼才明确以动画电影娱乐观众的思想，动画片本身才成为放映主角（不再是其他剧情片的搭配）。于 1937 年下半年首映的动画片白雪公主与七个小矮人为动画片树立了极高的标准，至今任然指导着动画艺术家们。1940 年，这一年作为迪斯尼制片厂的分水岭，诞生了木偶奇遇记和幻想曲。这些今天成为经典的作品在接下来的二十年中被追随效仿， 产生了一系列广受欢迎的动画娱乐作品。包括小飞象，灰姑娘，爱丽丝漫游仙境，彼得潘，小姐与流浪儿，他们的故事通常源自广为人知的文学故事。这些影片最不好的地方在于它们似乎越来越面向小观众。在 1966 年第四你去死
2、后，他的制片厂继续制作手绘动画影片，但是创作能量衰减，公司转而专注于著作真人是拍电影。然而 1989 年，对于我们所有孩子来说， 动画小美人鱼赋予了迪士尼新的生命活力（就像 animation 这个词本身的定义一样使有生命活力），从该片开始，出现了一系列令人惊叹不已的音乐动画片。两年后，美女与野兽问世，塔尔在制作过程中利用了计算机作为传统手绘技术的辅助手段，这部影片获得了奥斯卡最佳电影奖提名，它是第一部获此殊荣的动画片。更好的还在后面，就想着两部影片一样，后面紧接着出现的众多优秀作品包括狮子王，阿拉丁，花木兰延续了迪士尼的经典传统：大胆醒目的视觉效果、精致的剧本，以及我们在所有伟大的电影中，不
3、管是动画还是其他类型中都能找到的普适性主题和出乎意料之处。迪士尼的新版幻想曲，又被称为幻想曲 2000，把原版中的部分片段与新的创作部分糅合在一起。（而且，按照迪士尼管理层的说法，该片是首部在 IMAX 巨幕影院首映的剧情长片。）亨利塞利克执导了蒂姆波顿出品的两部影片，即圣诞惊魂夜和飞天巨桃历险记前者是一部完全原创的定格动画，影片画面有时渗透着无限的恐惧，后者改编自罗纳德达尔的畅销儿童书，该影片以真人实景拍摄开始。飞天巨桃历险记对暴力画面和重大恐惧（比如说，离弃）的表达和处理毫无掩饰，表达的真实感受对成人来说和对儿童一样生动鲜明，而蒂姆波顿的影片僵尸新娘，仅仅从名字上就已经显示出影片内容和该幽
4、默表达的“成人”特征。乔治米勒执导的可爱的小猪宝贝，曾被提名为奥斯卡最佳影片奖，受到评论界的赞誉，票房却不理想，更少有人看其续集小猪宝贝：小猪进城前后两部都混合了真人实拍、玩偶以及计算机动画。公众对小猪进城中各种动物卷入其中的滑稽暴力场面的反应，让人确定影片为数不多的观众的主体极可能是成人，而不是儿童。很多现代动画剧情长片，在一定程度上都有黑色（有时甚至是毛骨悚然的） 幽默特征，类似的“成人”娱乐成了新近出现的第三类动画剧情片的主打要素。这一类动画片完全由计算机技术一点一点地生成，通常这个过程基本综合手绘图像的动作平滑特性和定格动画玩偶的表面可塑性。第一批此类动画片是 1955 年上映的玩具总
5、动员，由约翰拉塞特为他的皮克斯动画工厂执导，这正是一直以来我们希望在儿童影片看到的。但是影片也出现了一些镜头，在镜头中，一个小孩在玩玩具，将他们拆毁并重新组装成丑陋可怕的新形势。它出色的玩具总动员 2进一步表明了影片创作者对表现人性更阴暗一面的兴趣。皮克斯（现在已被迪斯尼公司拥有）也曾制作过怪物公司，影片中可爱的怪兽对儿童具有很大的吸引力，然而影片具有的讽刺式幽默明显地面向成年人。皮克斯还制作了其他类似的动画片，包括海底总动员、超人总动员和 2006 年的汽车总动员，在山野票房上与电影评价界都获得了巨大的成功。最后，如果要寻找现代动画剧情片正在开发成人作为其主要观众的证据，我们只需去看一下埃及
6、王子。这部影片以世界上最具原型性的神话叙事之一（更不必说它还是犹太教和基督教共有的圣典）作为它的表现主题，除此之外，影片还利用相当风格化和复杂巧妙的视觉模式来表现莫西领导下的众多人物形象。不仅如此，有史蒂文凯特辛蓓阁和大卫格芬组成的梦工厂创作团队断然拒绝授权生产任何与影片相关的迷你玩具，或者将产品广告语快餐连锁店捆绑发布，从这一点上，我们马上意识到动画剧情偏成熟了。凯特辛蓓阁这样概括他们的主张： “我们尽量不妥协不在电影里创作可爱的角色，换觉话说，我们不想让一头骆驼变得好玩。”影评家查理德考利斯形容埃及王子是“一次伟大的实验，一次动画片领域的十字军圣战运动，突破了阻碍剧情动画片发展的狭窄局限”
7、。罗杰艾尔伯特则将该影片看做在动画创作目的、创作领域和艺术成就方面具有革命性意义的作品予以热烈追捧。约瑟夫M.博格斯丹尼斯w.皮特里看电影的艺术2006.122.5.2 原文：The art of watching filmsmid-1930s that Walt Disney became obsessed with the idea of entertaining viewers with animated films that were themselves the main show. Premiering in late 1937, Disneys Snow White and th
8、e Seven Dwarfs set rigorously high standards that today still guide animation artists. Like the puppet shows from which they evolved, the Disney studios watershed year of 1940, both animated films have long been seriously em-Pinocchio and Fantasia appeared. These now braced by the world of internati
9、onal art. In fact, classic works were followed during the next two as Baselines Encyclopedia of Film indicates, decades by a series of popular animated enter the first animations were also the first move tainments (including Dumbo, Cinderella, Alice in pictures. Victorian optical toys such Wonderlan
10、d, Peter Pan, and Lady and the Tramp), whose stories frequently originated in well-known as conversation pieces for parlors . . literary narratives. The least-accomplished of normally contained drawings these movies appeared to be targeted more pro-depicting succeeding states of anaction gressively
11、at younger audiences .After Disneys death in 1966, his studio conduced an illusion of movement . 14tinued to make drawn animated films, but the creative energy lessened, and the companys.Later in the nineteenth century, the illu-focus shifted to producing live-action films. Sions produced through th
12、ese simple drawings Then, for the child in all of us again, Disney an-of early animation developed into those of still imation was given new life (as the word anima-photographs being manipulated swiftly, either tion itself is defined) in 1989 by The Little mechanically or via projection. As the cine
13、ma Merniaid, which led an astonishing string of new progressed along more or less realistic lines, musical animated features. Two years later, though, such animation pioneers as Winsor Beauty and the Beast emerged from an artistic McCay, a New York newspaper cartoonist best process that utilized com
14、puters to assist in the known for his Gertie the Dinosaur(1914), began conventional drawing techniques, and the film to explore possibilities within the fantasy worlds won an Academy Award nomination for Best of animated film. By 1928, when Walt Disney Picture, the first such accolade for an animate
15、d created Steamboat Willie (and first introduced feature. Like these two films, the best ones that the world to a talking Mickey Mouse), animated followedincluding The Lion King, Aladdin, and shorts, shown before feature films, were already Mw/ancontinued the classic Disney conven-being produced in
16、abundance by such artists tions: bold visuals, shrewd scripts, and both theas Max Fleischer (creator of Betty Boop) and matic universality and surprise that we find in all Walter Lantz (Woody Woodpecker). Later the great films, animated or otherwise. Disneys Warner Brothers luminaries Chuck Jones, T
17、ex newer version of Fantasia, called Fantasia 2000, Avery, and Fritz Freleng (among many others) incorporated segments from the 1940 version gave audiences the energetic antics of a whole with newly created ones (and, according to Dis-stable of animated personalities, including Bugs ney executives,
18、was the first feature film to pre-Bunny and Porky Pig. But it was not until the miere in the giant-screen A X theaters).Henry Selick directed both Tim Burtons The Nightmare Before Christmas and James and the Giant Peachthe former a stop-action film that is wholly original and sometimes immensely fri
19、ghtening in its images, the latter an adaptation of Roald Dahls popular childrens book that begins in live action and segues impressively into stop-action animation before returning to live action at its end. James and the Giant Peach pulls no punches with its presentation of violence and its treatm
20、ent of monumental fears (abandonment, for example) that are no less vividly real for adults than for children, and just the title of adult nature of its subject matter and humor.George Millers charming Babe (1995), nominated for a Best Picture Oscar, and its critically acclaimed, poorly released, an
21、d little-seen sequel, Babe: Pig inthe City (1998), both combine live action, puppets (in the form of intricate ani-matronic devices), and computer animation. Public reaction to the comic violence involving animals in Pig in the City ensured that its small and primary audience would most likely be ad
22、ults, not children.Throughout many modern animation features, a certain dark, sometimes even macabre, humor abides. A similar adult amusement has also become a staple in the third and latest type of animated feature film, which is generated solely by art filtered through computer technology. This pr
23、ocess often appears almost to synthesize tlie smooth movement of drawn images and the plastic surfaces of stop-motion puppets. The first such film, 1995s Toy Story, directed by John Lasseter for his Pixar studio, contains the sort of gentle satire that we have come to expect in childrens films. But
24、it also presents a sequence in which a child plays with dolls that have been mutilated and reassembled in monstrous new shapes. And the excellent sequel, Toy Story 2 (1999), provided further evidence of its creators interest in the darker side of all life Pixar (now owned by Disney) has also produce
25、d Monsters, Inc., whose loveable monsters appealed to children while its satiric humor was clearly aimed at adults, and other large commercial and critical successes, including Finding Nemo, TheIncredibles, and 2006s Cars.Finally, if we seek proof that contemporary animated feature films now invite
26、adults to be a major part of their audience, we need only turn to The PrinceofEgypt, (Figure 5 .42). Here is a movie that takes as its subject one of the most archetypal narratives of world myth (not to mentionJudeo-Christian scripture) and, in addition, envisions its Moses-led characters through im
27、mensely stylized and sophisticated visual modes (including elongated El Greco faces). Further, we immediately recognized that the animated feature has grown up when its makers, the Dreamworks team of Steven Spielberg, Jeffrey Katzenberg, and David Geffen, flatly refused to authorize any miniature to
28、y or product advertising tie-ins with fast food chains. Katzenberg summarized their attitude: We tried to be uncompromising heretheres nothing cute and adorable in the film. In other words, we didnt make a camel funny/16Film reviewer Richard Corliss described The Prince of Egypt as a grand experiment, a crusade to expand the frustratingly narrow boundaries of feature animation.!? And Roger Ebert welcomed the film as revolutionary in its aim, scope, and artistic achievements.Joseph M. Boggs Dennis W. Petrie The art of watching films 2006.12