日本藝術(shù)和動(dòng)畫卡通外文翻譯

1、<p><b>　　中文3390字</b></p><p>　　本科畢業(yè)論文外文翻譯</p><p>　　外文題目： Japanese Art and the Animated Cartoon  </p><p>　　出 處：

2、 The Quarterly of Film Radio and Television </p><p>　　作 者： Taihei Imamura </p><p><b>　　原 文：</b></p

3、><p>　　Japanese Art and the Animated Cartoon</p><p>　　TAIHEI IMAMURA is one of Japan's leading motion picture critics and has written a number of books on the social and aesthetic aspects of th

4、e film, as well as editing Eiga Bunka (Movie Culture), the only motion-picture magazine in Japan. The following article, which was translated from Japanese by Fuyuichi Tsuruoka, is to appear as a chapter in Mr. Imamura&#

5、39;s On the Animated Cartoon. THE ANIMATED CARTOON has made little progress except in America, but the popularity of Disney films, rivaled in uni</p><p>　　Unfortunately, the Japanese animated cartoon is not

6、as unique an art as that of America despite the fact that Japanese art in the past was distinguished by its originality. It may well be that ancient Japanese art, considered critically, is the art of a less advanced soci

7、ety, but this does not mean that a Japanese style of animation can or should dispense with it. Whether we like it or not, traditional art must be the foundation of a truly Japanese animated cartoon. Originality in the ne

8、w form w</p><p>　　The Japanese picture scroll, considered as a picture story, is actually a distant antecedent of the animated cartoon, the first attempt to tell a story with a time element in pictures. The

9、chief difference between the animated cartoon and the picture scroll is that the individual pictures in the scroll do not move. On the other hand, neither does the single frame of a motion picture. The illusion of moveme

10、nt results, in both forms, from the differ-ence between each picture and the one that follo</p><p>　　To illustrate, a Japanese picture scroll shows the opposite sides of a battleship simultaneously although

11、the ship is in a position where only one side could actually be seen. By the ordinary laws of perspective, we cannot see the opposite side of an object, so the battleship is drawn twistedly. This is a negation of a monis

12、tic visual angle and of common sense. It is the same method as that of Futurism or Cubism. </p><p>　　To let us see both sides of an object from one point of view is to reveal the side which is ordinarily uns

13、een or that we do not expect to see. The one side is "real" and the other is "unreal," so that the unreal side should be considered to exist through the real one, to be predicated upon the real side a

14、s probable or neces-sary. It is an imaginative unification of both sides, distorting perspective to express an idea. </p><p>　　Double exposure in the motion picture serves the same pur-pose, allowing us to s

15、ee both sides of one thing at the same time, or two objects in different places at the same time. </p><p>　　Both the motion picture and the picture scroll have other tech-niques that overcome the physical

16、 limitations of the human eye. The motion-picture montage is essentially the same as the un-synchronized revolving method in the picture-scroll drawing, for example, and the cutback also has its counterpart in the scroll

17、. In the picture scroll and the motion picture we can see the living conditions of a man in the city and his lover in the country synchronously, alternately, and in parallel. Obviously</p><p>　　What we actua

18、lly see in a motion picture or a picture scroll is the visualization of an idea. It does not matter whether individual shots and drawings are literal representations if they help to reveal the idea. For example, the Fuki

19、nukiyakata (no-roof-house-picture) in the picture scroll allows us to look down from above on a roofless house with the interior plainly visible. In the real world, houses are roofed, but in the world of the picture scro

20、ll we accept the roofless house as real. In fac</p><p>　　The distortion of reality is more apparent in the picture scroll because it becomes, frequently, a distortion of perspective. For example, to achieve

21、an effect similar to that of the motion-picture close-up, picture-scroll artists drew some figures extraordinarily large in comparison with the objects surrounding them. The best examples are in the mountain hermitages s

22、een in the Shigisan- Engi and the figures praying on the summit in the Egaratenjin- Emaki. Perspective is intentionally disregarde</p><p>　　It is no accident that the picture scroll and the motion picture us

23、e similar techniques. Both must be dynamic in order to develop a story moment by moment, attracting and holding the spectator's interest in picture after picture. The Bandainagon Ekotaba pic-ture scroll, for example,

24、 opens with a picture of men rushing to and fro. They frown, cry, wave hands, and point toward some-thing. More men appear, and the excitement increases. We see a gate and the uproar comes to a climax. Some of the thr<

25、;/p><p>　　The rapid tempo of the fire scene helps to create the impression of people rushing about and, what is more important, speeds the development of the story toward a climax. Most American movies attract

26、interest through just such direct and rapid plot develop-ment in the opening scenes.</p><p>　　In the further development of the plot, the picture scroll uses a technique similar to the motion-picture montage

27、. The action is abbreviated and the climaxes of several scenes are presented in quick succession. Sometimes this technique of abbreviation is used to show the passage of time, as in a pictorial biography of St. Ippen in

28、which, between pictures of action, is a picture of a running stream and pampas grass waving in the wind, indicating a passage of time. The next picture shows a priest </p><p>　　It seems clear enough that the

29、re are strong resemblances between some aspects of the Japanese picture scroll and the modern motion picture. The Japanese animated cartoon should use, in the modern medium, the traditions it inherits from the past. The

30、most important thing the Japanese animated cartoon can learn from the picture scroll is its use of imaginative power. The scroll came out of a backward and stagnated feudal Japan; under such oppression people generally f

31、ind release in their imaginati</p><p>　　The heavier the oppression, the more people escaped to such salvation and lived in their imaginations. Yet even in the most imaginative scrolls a concern with the real

32、ities of life shows itself. Imagination does not necessarily make us forget realities but can stimulate our awareness of them. The picture scrolls that excel in imagination excel also in realism. </p><p>　　A

33、mong these are Choju Giga Zukan (picture scroll of birds and beasts), Gaki-Zoshi (storybook of famished devils), and Hyakki- Yako-Zu-Emaki (picture scroll of pandemonium). The animals in Choju Giga Zukan are anatomically

34、 correct, but the scroll depicts the corrupt living conditions of the aristocracy and clergy in the end of the Heian era, a thousand years ago, by showing the rats in full court dress and the frogs wearing red skirts wit

35、h lotus leaves in their hands, and so on. </p><p>　　The Gaki-Zoshi pictures not only famished devils but actually the starving people in the Kamakura era, four hundred years ago. The abominable group of fami

36、shed devils, their hands and feet thin, like dead branches, bellies strangely swelling, hair growing disheveled, and uncanny eyes shining in vain, cannot fill themselves. The more they eat, the hungrier they become; the

37、more they drink, the thirstier they are. They are avarice itself, sauntering hither and thither only to eat and drink. They g</p><p>　　The Hyakki-Yako-Zu-Emaki is a caricature of the Tokugawa era of the eigh

38、teenth and nineteenth centuries. At the beginning of the scroll we see a big toad dragging a handcart to a feast. A rat is pointing ahead. Two others, holding a sutra desk, stand on either side. On the front of the cart,

39、 a long-nosed goblin's face is peeping out; from its back window a moon-faced woman is smiling evilly. Under her exaggeratedly separated eyebrows are crescent-shaped eyes and a dumplinglike nose stuck on to t</p&g

40、t;<p>　　When the modern Japanese animated cartoon portrays man's real inner feelings and desires with this kind of imaginative power, it will become an art of a higher order. </p><p><b>　　譯

41、 文：</b></p><p><b>　　日本藝術(shù)和動(dòng)畫卡通</b></p><p>　　太平今村是日本著名的電影評(píng)論家之一，他撰寫了大量關(guān)于社會(huì)和美學(xué)電影方面的書籍，以及編輯Eiga日本文化（電影文化），該雜志是日本唯一的具有運(yùn)動(dòng)畫面的雜志。下面的文章是由鶴岡冬一先生從日語中翻譯過來的，作為一章記載在今村先生卡通影片中。動(dòng)畫片在美國取得的進(jìn)步很小，但

42、是迪斯尼電影的人氣，在普遍的吸引力方面不亞于卓別林的電影，這使得人們有了充分的理由相信，美國在動(dòng)畫領(lǐng)域?qū)⒂惺澜缧缘陌l(fā)展，每個(gè)國家都要適應(yīng)自己國家傳統(tǒng)動(dòng)畫藝術(shù)的技術(shù)。 不幸的是，日本動(dòng)畫卡通不像美國動(dòng)畫那樣獨(dú)特，盡管在過去日本藝術(shù)在創(chuàng)意方面是很杰出的。很可能是古老的日本藝術(shù)，批判性的被認(rèn)為，是一個(gè)不太發(fā)達(dá)的社會(huì)的藝術(shù)，但是這并不意味著日本的動(dòng)畫風(fēng)格可以或者應(yīng)當(dāng)摒棄它。不管我們喜歡與否，傳統(tǒng)藝術(shù)一定是一個(gè)真正的日本動(dòng)畫卡通的基礎(chǔ)。新

43、的藝術(shù)形式獨(dú)創(chuàng)性的獲得不會(huì)以忽略動(dòng)畫片的過去為代價(jià)，達(dá)到像其他現(xiàn)代藝術(shù)形式的動(dòng)畫卡通，這是一種通過繼承過去發(fā)展的藝術(shù)形式。據(jù)日本的釤愛森斯坦指出日本古代藝術(shù)的特點(diǎn)與現(xiàn)代動(dòng)畫片的特點(diǎn)及采用類似的方法有著密切相關(guān)的聯(lián)系。 日本畫卷，作為一個(gè)圖片故事考慮，實(shí)際上是動(dòng)畫卡通，第一次嘗試在圖片中講</p><p>　　在情節(jié)的進(jìn)一步發(fā)展中，畫卷使用的技術(shù)類似于電影里的蒙太奇。該情節(jié)被縮短和幾個(gè)場(chǎng)景的高潮以快速交替的

44、方式呈現(xiàn)。有時(shí)候，這種縮寫的技術(shù)，被用來表示時(shí)間的推移，如在圖案StIppen傳記中的圖片之間的行動(dòng)，是一個(gè)正在流動(dòng)的溪水，和風(fēng)中的潘帕斯草原，顯示了時(shí)間的飛逝。下圖為一名牧師臨終前躺在了傷心欲絕的人群包圍中。下一張圖片顯示，只有圣人的臉上帶著白布覆蓋。他死了。 這似乎足夠的清晰，這里有強(qiáng)烈的相似之處在日本的畫卷和電影方面。日本動(dòng)畫片應(yīng)該運(yùn)用現(xiàn)代的媒介使用它過去的傳統(tǒng)的繼承。最重要的日本動(dòng)畫片可以從畫卷中借鑒的是對(duì)其想象力的使用。

45、畫卷向后展開伴隨著日本封建的停滯；在這樣的壓迫下，人們普遍的釋放他們的想象而不求實(shí)際。當(dāng)畫卷呈現(xiàn)從高處呈現(xiàn)一個(gè)真實(shí)的場(chǎng)景，它意味著一個(gè)天空的角度來看，表示希望救亡和尋求在夢(mèng)幻世界的想法。 較重的壓迫，使得越來越多的人找到那樣的躲避方法，他們生活在他們的想象中。然而，即使是最富有想象力的畫卷也關(guān)注著真實(shí)的現(xiàn)實(shí)生活。想象并不一定能使我們忘記現(xiàn)實(shí)，但可以激發(fā)我們對(duì)它們的認(rèn)識(shí)。畫卷，勝過于想象也勝過于現(xiàn)實(shí)。 其中有Choju G

46、iga Zukan（圖</p><p>　　有混淆的臉和手，眼睛和鼻子的鐘聲，用酒杯吹口哨，在柵欄柱頂部跳舞，周圍以長(zhǎng)鼻子的妖怪和圓臉的女人為中心。一個(gè)眼睛前嫌，把對(duì)甲，朝著一個(gè)死樹，舉起雙手，正要逃跑。通過畫卷場(chǎng)景描述了封建君主的自我滿足，他的家臣的無知，他們的腐敗的生活條件。這些場(chǎng)景是充滿樂趣，而不是神秘，但我們發(fā)現(xiàn)他們沒有幽默。圖片的繪畫樣式所對(duì)應(yīng)的內(nèi)容，沒有直線，但有專用的線表達(dá)成熟和腐爛。當(dāng)被想象力被成

47、熟的表達(dá)出來時(shí)，封建的生活條件和氣氛都變得更加生動(dòng)真實(shí)。 當(dāng)現(xiàn)代日本動(dòng)畫漫畫描繪了這樣的想象力與善良的人的真實(shí)內(nèi)心的感受和愿望時(shí)，這將成為一個(gè)更高階的藝術(shù)。</p><p><b>　　導(dǎo)師評(píng)語：</b></p><p><b>　　簽字：</b></p><p>　　年 月 日</p>