欢迎访问《文艺理论研究》，
文艺理论研究

文艺理论研究 ›› 2021, Vol. 41 ›› Issue (4): 160-167.

• 现当代文论与文化研究 • 上一篇    下一篇

动画的现代起点与动画艺术的媒介间性

冯学勤   

  1. 杭州师范大学艺术教育研究院
  • 出版日期:2021-07-25 发布日期:2021-07-18
  • 作者简介:冯学勤，文学博士，杭州师范大学艺术教育研究院研究员，主要从事中西现代美学和美育理论、动画艺术理论研究。

The Modern Origin of Animation and the Intermediality of Animation Art

Feng Xueqin   

  1. the Institute for Art Education, Hangzhou Normal University
  • Online:2021-07-25 Published:2021-07-18
  • About author:Feng Xueqin, Ph.D., is a professor at the Institute for Art Education, Hangzhou Normal University. His research interests include modern aesthetics, theory of aesthetic education, and theory of animation art.

PDF (PC)

357

摘要： 意大利动画艺术史家吉安纳伯托·本塔齐认为，埃米尔·柯尔及其《幻影集》是动画艺术的起点。这一观点值得商榷，他将动画与电影的发生视作同一进程，忽视二者之间建筑在艺术的媒介差异性基础上的重要区别。从动画的跨媒介发展史与媒介间性的动画意识出发，埃米尔·雷诺的《光学哑剧》呈现了动画与电影之间的媒介裂缝，而这一裂缝正提示着动画在现代时期那先于电影的异质性起源。不仅如此，对这一起源的辨析也将强化动画作为一种媒介间性艺术的基本特征，进而深化对动画艺术本体的认识。

关键词: 动画艺术, 跨媒介, 媒介间性, 埃米尔·雷诺

Abstract: Giannaberto Bendazzi, an Italian historian of animation, believes that Emile Cohl and his Fantasmagorie are the origins of animation art. Bendazzi’s view is problematic as he considered the origins of animation and film share the same genealogy, ignoring the significant differences on media basis. From the perspective of intermediality of art, Emile Reynaud’s Luminous Pantomimes presents the media difference between animation and film, representing a heterogeneous origin of animation in the modern era. Analyses of this origin will provide an insight into the ontology of animation, which is a cross-media art.

Key words: animation as art, cross-media, intermediality, Emile Reynaud