论动画影视分析的美学价值（On the aesthetic value of animated film and television analysis）.doc

论动画影视分析的美学价值（On the aesthetic value of animated film and television analysis）On the aesthetic value of animated film analysisAs Eagleton in "criticism and ideology" pointed out that "the artistic text is not a closed organic body, but a dynamic process of ideographic ideology and open of the."- IntroductionChinas accession to the WTO will create a new page in the history of animated films. If the last century in 80s and 90s, Chinese film from the field of aesthetics and art language the first step of the modernization of the first step, then today, the pace will be in the film and television system, economic system, science and technology system, the depth of field to a higher level continued to move.Animation is a film type that can not be ignored. It is one of the four kinds of films. The world is known as the animation, the English called cartoons (cartoon), is the main use of painting form characters and the story of the film, China called it art film, refers to the assembly, cartoon puppet film paper-cut pieces etc. Because of its uniqueness in production and Technology (non character play, high difficulty hypothesis), it has its unique film language and artistic characteristics.The artistic characteristics of animated films determine that their aesthetic values have the same artistic characteristics. The first is the high hypothesis. The high hypothesis is one of the basic characteristics of animation. Animated movies and live action films are very different from reality. It is essentially different from the traditional sense of the feature film. The traditional audio-visual elements in animation have undergone some kind of deformation. Also have a psychological effect, in particular the expectation such as childish, bizarre plot themes, characters exaggerated. In Barzuns long lens theory, photography is different from painting, and its uniqueness lies in its essential objectivity. Animated films, on the other hand, are unique in that they are essentially hypothetical. The high hypothesis makes animated films closer to myths and fairy tales, rather than playing real scenes of real human life. Second is the freedom and flexibility of the picture transformation. Animated films are more flexible and free in the composition and temporal and spatial structure of the movie language, which are hard to reach for the regular feature films. Such as "the Taishan" in Taishan on the cliff from the top of the tree to leap from the trunk, slipped into the water from the vine, with the group famous long lens, ordinary camera and any action star that cant be done. Because of the unique nature of their production and viewing psychology, animated films have often revived the ways in which stories, such as surrealism and psychoanalysis, have long since vanished in regular feature films. The famous "Prince of Egypt" in paragraph Prince of Egypt Mose into the dream is obviously Bunuel and Freuds shadow: from reality into the dream is realized through common lens, light tone, deepen push becomes orange and eye deformation; when Mose opened his eyes, has become a strong relief effect; continuous jump cut, lens flip, three-dimensional sense, strengthen the scheduling using the corner by using the texture type characters from the roof movement caused the red color, texture type odd dimension soldiers mixed surrealism movement and movement and so on are skipping a strong magic. Third is the magic of picture modeling. The animated film is different from the general story at the other characters and scenes on record, realistic style, because there is no real actors existence and photographing restrictions, characters and scenery modeling has become the ideographic element modeling can be independent, bold exaggeration and magic. The fourth is the legend of the story. If the story is the pursuit of Dickenss critical realism, or Tolstoy "reflects the history and reality of the mirror" type of narrative style, so more animated films in the selection of identity created in childhood several important literary forms: myths, legends, folk epics, fairy tales, animals and plants a story. These subjects are difficult to get complete and prominent in routine shooting. Fifth is a strong musicality. The high degree of supposition of animation makes it often have the nature of approaching musical musicals when making.Film and television education is a product of the development of the film and television industry. As a form of concept, it reflects the development of film and television industry, and as a form of system, it also provides a steady supply of talents,Support and even influence the progress of the film and television industry. High quality talents are the foundation of the prosperity of film and television, which has been confirmed by history and numerous film and television giants. The analysis of animated films is an inseparable part of film and television education.According to the "language of film: the film in his" Introduction to the Film Semiotics studies in general is divided into three parts: the film theory, film history and film criticism, we can put the film and television animation also divided into three parts, theory, history and animation animation animation film criticism. Because film criticism is also an important part of film studies or film studies, and is a blend of film history and film theory. The analysis of the film is, frankly speaking, the appreciation of film and television. The film is the first film of appreciation of peoples true feelings, is a feeling, but also the rational thinking and analysis and, in accordance with the laws of the film and even unique requirements, to use some professional theories and terminology. In view of the complexity of modern animation art as a cultural phenomenon and a new depends on the progress of science and technology or quasi industrial production, breakthrough thinking and criticism of the films point of view is very much, the schema of four elements of film and television art let us consider a home on Abrams from the United states the "art of four elements" the schema transformation:The world of film and Television Art (or the universe, reality, objective, or virtual phenomena, etc.)Artists (pre - and designers, post - processing staff)Works of Art (film, language, form, elements, art, form, type)The believers (viewing audience, psychological characteristics, and appreciation of the comments)According to this illustration, our criticisms of the film can be carried out at least from the following angles.World or display systemFrom this point of view, the appreciation of film and television criticism is generally appreciated and criticized by social cultural system. In nineteenth Century, Taina, a literary critic, put forward in his book "philosophy of art" the three elements of literature and art. These three elements were race, environment and times. He pointed out that to understand a piece of art, an artist, a group of artists, must have the right idea they belong to the spirit of the times and customs situation, this is the last art interpretation, but also determines the basic reason of all." Therefore, from this point of view, the criticism of film and television mainly regards the work as a reflection or representation of social, cultural and social ideology. The value of film and Television Aesthetics lies in the combination of the theory and methodology of art criticism. This can be a kind of moral criticism, which is to measure the moral values conveyed or carried on by the moral standards of the real society. From this dimension, it can also be ideological criticism, which shows the criticism of the social production mechanism of film and television. Film and TV culture criticism, not only is all sorts of animation text in many elements of cultural background, multi angle with a variety of effective cultural criticism methods described, and tries to put the film as a kind of open (no longer confined to the pure image of the text), and the market economy, the industrial production mode, mass culture is closely related with the the reproduction of social ideology (not just pure art film) analysis and criticism of the film.Dimension of creating themes (editing system)From this point of view, we can make a critical study of all aspects of film and television production, namely, editing, guiding (pre planning), acting (design, performance), beauty (art guidance), recording (collating, inputting) and editing.Language and form (film, ontology, system)From this dimension, this paper focuses on the form of film, image and language. The so-called research in this paper is the representation of the film as an expression, and then analyzes and studies the internal system structure and the way of expression of this expression. Specifically, we can study the language features of the film, such as characters, motion, camera language, editing style, narrative or lyric rhythm, viewpoint, angle and other content, this can be done through analysis of close reading of the lens. We can also use the methods of film and television narratology to extract and summarize the narrative structure of the film, to find the contradictions and gaps in narrative, and then to subvert the theme of the film.Acceptance (audience system)From this point, the audience can study peep psychology, study of film to the audience psychology consciously or unconsciously to. Studying the role and process of the film s "suture" to the audience in the process of viewing, it can also carry out the study of archetypal psychology or individual psychoanalysis, and then study the mass cultural psychology expressed in the film. Because, as Luis Giannetti sees it, mass culture makes us the most unstoppable of archetypes and myths, while elite cultures tend to hide archetypes and myths beneath the surface of complex details.Of course，Research from any angle will cost at the expense of other perspectives. Therefore, when we appreciate and criticize the artistic elements of the aesthetic value of film and television works, we should inherit critically, take the essence and reject the dross. And the appreciation of the aesthetic value of film and television works, we should in practical practice, multi angle digest.Film and television art is a mass art in general. Therefore, from the aesthetic point of view, it is also a basic subject for the aesthetics of film and television to study the audiences expectation, aesthetic psychology, appreciation process and motivation. With the changes of the times, social progress, the continuous development of film and television art, the audiences aesthetic psychology, aesthetic taste is also changing. Therefore, it is particularly important to study and attach importance to the relationship between film and television works and aesthetic acceptance.When the audience of the past experience and new visual works horizon to make reasonable comparison, and not to accept the new works, there may be a narrative style and narrative mode, the melancholy audience acceptance period so disjointed, it will be difficult to produce the assimilation and resonance, is not a common aesthetic horizon. The changes in the aesthetic horizon of the whole reception group are not only aroused by new movies, but also by the cognitive participation of the audience. The early animation filmmakers just adapted to this aesthetic vision, and then made some wise choices that were adapted to and even influenced so far. As far as the ultimate goal of aesthetic acceptance is concerned, all comprehension is ultimately the comprehension of life.To determine the value of the work at the level of analysis of art works, all is to understand the works in explaining the process of form meaning elements on human beings, is the degree of freedom to expose these elements. And the analysis of the aesthetic value of the film and television works, we must first determine the external link of the work, that is, the meaning and value of aesthetic relations. Artistic work is three-dimensional and multifaceted, so it should be approached from different aspects, and then use all possible ways to deal with the work of art.No matter is the artistic criticism of film aesthetics, and artistic features of film aesthetics, or aesthetic and aesthetic expectation, or symbolic value of film aesthetics analysis, but is a part of the film aesthetics. It is a medium for us to understand and accept its value. The special ideology of film aesthetics of authenticity and said it "reflected" or "reproduction" of the history and reality of existence, rather than its production (including the production of artists and recipients of personal or social reproduction) itself is the ideology of the production process, it is in this sense of reality show and the truth of history. So we must have a correct understanding of the aesthetic value of animation film analysis, correct attitude, learning and working attitude in the future to make full use of the understanding, in line with their own values of animation works make better in mind.