三維動畫設(shè)計(jì)外文翻譯文獻(xiàn)

1、文獻(xiàn)信息：文獻(xiàn)標(biāo)題：Aestheticsanddesigninthreedimensionalanimationprocess(三維動畫過程中的美學(xué)與設(shè)計(jì))國外作者：GokceKececiSekeroglu文獻(xiàn)出處：Procedia-SocialandBehavioralSciences,2012,51(6):812-817字?jǐn)?shù)統(tǒng)計(jì)：英文2872單詞，15380字符；中文4908漢字外文文獻(xiàn)：AestheticsanddesigninthreedimensionalanimationprocessAbstractSincetheendofthe20thcentury,animationtech

2、niqueshavebeenwidelyusedinproductions,advertisements,movies,commercials,credits,visualeffects,andsoon,andhavebecomeanindispensablepartofthecinemaandtelevision.Thefastgrowthoftechnologyanditsimpactonallproductionindustryhasenabledcomputer-generatedanimationtechniquestobecomevariedandwidespread.Comput

3、eranimationtechniquesnotonlysaveslabourandmoney,butitalsogivestheproducertheoptionofapplyingthetechniqueineithertwodimensional(2D)orthreedimensional(3D),dependingonthegiventimeframe,scenarioandcontent.Inthe21stcenturycinemaandtelevisionindustry,computeranimationshavebecomemoreimportantthanever.Imagi

4、narycharactersorobjects,aswellaspeople,eventsandplacesthatareeitherdifficultorcostly,orevenimpossibletoshoot,cannowbeproducedandanimatedthroughcomputermodellingtechniques.Nowadays,severalsectorsarebenefitingfromthesespecialisedtechniques.Increaseddemandandapplicationareashaveputthequestionsofaesthet

5、icsanddesignintoperspective,henceintroducinganewpointofviewtotheapplicationprocess.Comingoutofnecessity,3Dcomputeranimationshaveaddedanewdimensiontothefieldofartanddesign,andtheyhavebroughtinthequestionofartisticandaestheticvalueinsuchdesigns.Keywords:threedimension,animation,aesthetics,graphics,des

6、ign,film1.IntroductionCenturiesago,ancientpeoplenotonlyexpressedthemselvesbypaintingstillimagesoncavesurfaces,buttheyalsoattemptedtoconveymotionregardingmomentsandeventsbypaintingimages,whichlaterhelpedestablishthenaturalcourseofeventsinhistory.Suchconcerncontributedgreatlytotheanimationandcinemahis

7、tory.Firstexamplesofanimation,whichdatesbackapproximatelyfourcenturiesago,representsmilestonesinhistoryofcinema.EadweardJ.Muybridgetookseveralphotographswithmultiplecameras(Figure1)andassembledtheindividualimagesintoamotionpictureandinventedthemovieprojectorcalledZoopraxiscopeandwiththeprojectionheh

8、eldin1887hewasalsoregardedastheinventorofanearlymovieprojector.Inthataspect,FrenchmenLouisandAugusteLumierebrothersareoftencreditedasinventingthefirstmotionpictureandthecreatorofcinematography(1895).Figure1.EadweardJ.MuybridgesfirstanimatedpictureJ.StuartBlacktonclearlyrecognisedthattheanimatedfilmc

9、ouldbeaviableaestheticandeconomicvehicleoutsidethecontextoforthodoxliveactioncinema.Inparticular,hismovietitledTheHauntedHotel(1907)includedimpressivesupernaturalsequences,andconvincedaudiencesandfinanciersalikethattheanimatedfilmhadunlimitedpotential.(Wells,1998:14)“Praxinoscope-inventedbyFrenchman

10、Charles-EmileReynaud-isoneofthemotionpicturerelatedtoolswhichwasdevelopedandimprovedintime,andtheinventionisconsideredtobethebeginningofthehistoryofanimatedfilms,inthemodernsenseoftheword.Atthebeginningofthe20thcentury,animatedfilmsproducedthroughhand-drawnanimationtechniqueprovedverypopular,andthew

11、orldhistorywasmarkedbythemostrecognisablecartooncharactersintheworldthatwereproducedthroughtheseanimations,suchasLittleNemo(1911),GertietheDinosaur(1914),TheSinkingoftheLusitania(1918),LittleRedRidingHood(1922),TheFourMusiciansofBremen(1922)MickeyMouse(1928),SnowWhiteandtheSevenDwarfs(1937).Naziregi

12、meinGermanyleadstoseveralimportantanimationfilmproductions.WhenGoebbelscouldnolongerimportDisneymovies,hecommissionedallanimationstudiostodeveloptheatricalcartoons.Uponthis,HansFischerkoesenbegantoproduceanimationfilmsandbyendofthewar,heproducedoverathousandcartoons(Moritz,2003:320).Induecourse,anim

13、atedfilmsbecameincreasinglypopular,resultinginnewandsizablesectors,andtheadvancesintechnologymadeexpansionpossible.Fromthenon,thecomputer-generatedproductions,whichthrivedinthe1980s,snowballedintotheindispensablepartofthemoderndaytelevisionandcinema.TheAmericananimatedmovieAladdingrossedover495milli

14、ondollarsworldwide,andrepresentedthesuccessoftheAmericananimationindustry,whichthenledtoanexpansionintoanimatedmovieswhichtargetedadults(Aydm,2010:110).JapanispossiblyjustasassertiveintheanimationfilmsasAmerica.FollowingthesuccessofthefirstJapaneseanimation(anime)calledTheWhiteSnakeEnchantress1958(F

15、igure2)whichresultedinawardsinVenice,MexicoandBerlinfilmfestivals,Japaneseanimesbecameeversopopular,whichledtocontinuousinternationalsuccess.Forexample,themovietitledSpiritedAwaywonanOscarforBestAnimatedFeatureFilm,andbecamethewinnerofthetopprizeatthisyearsBerlinfilmfestival.Followingtheirever-incre

16、asingsuccessinanimeproduction,JapanbecameoneofthemostsoughtafterhubsofanimationindustrybyEuropeanandAmericancompaniesinterestedincollaboration.Figure2.TheWhiteSnakeEnchantress1958ThreeDimensionalAnimationThedevelopmentofanimationtechniques,aprocessthatcanbetracedbacktothe18thcenturybroughtwithitathe

17、maticvarietyinanimationgenres.Today,animationtechniquesbasedoncartoons,puppets,stop-motion,shadow,cut-outandtimelapsecanbeappliedbothmanuallyandbasedondigitaltechnology.Furthermoretheuseof3Dcomputergraphicsinthe1976-datedfilmFutureworldopenedthewayforthistechnologytobeinhighdemandinavarietyofindustr

18、ies.3Danimationsoccupyacentralroletodayincinema,TV,educationandvideogamesalike,andtheircreativeprocessesinbothrealisticandsurrealtermsseemtoknownolimits.Thisnewmediumthatwithitsmagicalpowersmakestheimpossiblepossibleanddefiesthelawsofphysic(Gokearslan,2008:1)openadoorfordesignersandartiststoanunlimi

19、tedimagination.Inparticularinthemoviesofthe80s,computer-aidedanimatedeffectsturnedouttobelife-savers,andthefeaturefilmTerminator2(1991)inwhich3Danimationtechnologywasusedforthefirsttimereceivedpraisefrombothaudienceandfilmcritics(Kaba,1992:19).ToyStory(WaltDisneyPictures,1995),afilmthatbecameverypop

20、ularamongaudiencesofallagesduetoitsscript,characters,settingsandanimationtechnique,wasthefirstfully3Danimatedfeaturefilminhistory,andwasfollowedbytwosequels.Byhelpofthesupportcomingfromthehomeland,anditsformorientedrealisticformat,Disneycharactershavebeenamongstthetopanimatedcharacters.Inordertoachi

21、evearealisticproduction,Disneyevenkeptanimalssuchashorses,deer,andrabbitsinthestudios,whiletheartistsstudiedtheirform,movementsandbehaviour.Asforhumancharacters,famousmoviestarsoftheperiodwerehiredasareferencepointforhumanformandbehaviour.(Gdkgearslan,2009:80).AnotherAmericanmovieShrek(2001)createdb

22、yWilliamSteig,whosebookShrek(1990)formedbasisfortheDreamWorksPicturesfulllength3Danimationfilm,attractedmillionsofpeople.Themovieisagreatexampleofacleverandaestheticallypleasingcombinationofpowerfulimaginationandrealisticdesign.Also,bymeansofcertaindialoguesandjokes,thethemeofvaluejudgementissimplif

23、iedinawaythatitisalsounderstoodbychildren.Theseareamongsttwoundeniablefactorswhicharethoughttohavecontributedtotheworldwidesuccessofthemovie.Mostsuccessful3DanimationmoviesareofAmericanmake.Theimportanceofbudget,historicalandpoliticalfactors,aswellascontextualandstylisticfactorswhichbringinsimplicit

24、yandclaritytothemoviesisincontrovertible.“Theeraofthepost-photographicfilmhasarrived,anditisclearthatfortheanimator,thecomputerisessentiallyanotherpencil.Arguably,thishasalreadyreacheditszenithinPIXARsMonstersInc.Consequently,itremainsimportanttonotethatwhileEuropehasretainedatraditionofauteuristfil

25、mmaking,alsoechoedelsewhereinRussia,China,andJapan,theUnitedStateshasoftenimmerseditsanimationwithinaSpecialEffectstradition,andasanadjuncttoliveactioncinema.”(Wells,2002:2).AestheticsandDesigninThreeDimensionalAnimationsLow-budgetandhigh-budget3Danimationmoviesgothroughthesameprocess,regardless.Thi

26、sprocessisnecessaryinordertoputseveralelementstogetherproperly.Thefirststepistowriteupashorttextcalledsynopsis,whichaimstooutlinethemovieplot,contentandtheme.Followingtheapprovalofthesynopsis,thecreativeteammovesontostoryboarding,whereillustrationsorimagesaredisplayedinsequenceforthepurposeofvisuali

27、singthemovie(Figure3).Storyboardingprocessreflects3Danimatorsperspectiveandtheelementsthatareaimedtobeconveyedtotheaudience.Theanimationartistsgivelifetoascenario,andaddatouchoftheirpersonalitytothecharactersandenvironment.“GoneWithTheWindisthefirstmoviewherethestoryboardingtechnique,whichwasinitial

28、lyusedinWaltDisneyStudiosduringtheproductionprocessofanimatedmovies,wasusedforanon-animationmovie,andsincethe1940s,ithasbeenanindispensiblepartofthefilmindustry.Figure3:ToyStory,storyboarding,PixarStoryboardartistsarethestapleoffilmindustry,andtheyaretheoneswhoeithermakeorbreakthedesignandaesthetics

29、ofthemovie.Whiletheytheirmainresponsibilityistoenframethemoviesceneswithaestheticsanddesignqualityinmind,theyarealsoresponsibleforincorporatinglights,shadowsandcoloursinawaythatitenhancestherealisticfeaturesofthemovie.Thenextstepfollowingstoryboarding,istimingwhichisparticularlyimportantindeterminin

30、gthelengthofscenes,bytakingthescriptintoconsideration.Inordertoachievearealisticandplausibleproduct,meticulousmathematicalcalculationsarerequired.Thenextimportantstepistocreatecharactersandenvironmentin3Dsoftware,andfinalisetheproductioninaccordancewiththestory-board.Whilecharacterandobjectsaremodel

31、ledin3Dsoftware,suchas3DsMax,Cinema4D,Houdini,Maya,Lightwave,thebackgrounddesignisalsocreatedwithdigitalartprogramssuchasPhotoshop,Illustrator,Artage,dependingonthetypeorcontentofthemovie(Figure:4).Threedimensionalmodellingisthedigitalversionofsculpturing.Intime,withever-changingtechnology,plasticar

32、tshaveimprovedandbecomevaried,leadingtoanewformofdigitalart,whichalsoprovidesaestheticintegrityintermsoftechniqueandcontent.Sameasmanuallyproducedartwork,3Dcreationsarealsoproducedbyhighlyskilledartistwithextensiveknowledgeofanatomy,patterns,colours,textures,lightsandcomposition.Suchartistsanddesign

33、ersareabletomakeuseoftheirimaginationandcreativity,andtakecareofbothtechnicalandaestheticaspectsofcreatingananimatedmovie.Figure4:Examplesof3Dmodelling(left)andbackground(right).Inamovie,thecolour,lightandshadowelementsaffectthemodelledcharacter,settingandbackgroundtoaverylargeextent.Threedimensiona

34、lcomputergraphicssoftwareprovidesarealisticvirtualstudioandendlesssourceoflightcombinations.Hence,themessageandfeelingisconveyedthroughanartisticallysensitiveandaestheticallypleasingatmosphere,createdwithacertaincombinationoflightandcolours.Spotlight,omni,areaanddirectlightsareafewexamplestothetypes

35、ofoptionsthatcanbeusedontheirownorasacombination.Forexample,in3Danimationsthedirectlightsourcecanbeusedoutdoorsasanalternativeforthesun,whereasthearealightwhichusesverticalbeamscanhelpsmoothoutthesurfacebyspreadingthelightaround,whichmakesitidealforindoorssettings.BlueSkyStudios3Dmoviecalled“IceAge”

36、(Figure5)producedin2001achievedakindofuniqueandimpressivetechnology-drivenrealistictechniquewithcleveruseoflightsandcolours,becomingoneofthefirstexceedinglysuccessful3Danimationsoftheperiod.Figure5:“IceAge”,BlueSkyStudios,2001Followingthemodellingandfinishingtouchesofothervisualelements,eachsceneisa

37、nimatedonebyone.“Actionsassignedtoeachandeveryvisualelementwithinthescenehavetohaveameaningfulconnectionwiththestory,intermsofformandcontent.Infact,theveryfundamentalprincipleofcomputeranimationsisthateachactionwithinthesceneservesacertainpurpose,andthedesignwithintheframecreatesvisualpleasure”.Unde

38、rscoringelementisalsoexpectedtocomplementthevisualsandbeinharmonywiththescene.Itisanacceptedfactthatagoodvisualispresentedalongwithsuitablemusic,affectstheaudienceinemotionalandlogicalsensealotmorethanitwouldhavedonesootherwise.Forthatreason,underscoresarejustasimportantasotheraudioelements,suchasvo

39、iceoversandeffects,whenitcomestovisualcomplements.Soundisanindispensablepartoflifeandnature,thereforeitcanbeconsideredasafundamentalmeansofstorytelling.Cleverandappropriateuseofsoundisveryeffectiveinmaintainingtheaudiencesattentionandinterest.Inordertoproduceameaningfulfinalproductintheeditingphase,

40、acarefulprocessofstoryboardingandtiminghavetobecarriedout.Skilfullyexecutededitingcanaddrhythmandaestheticstoscenes.Theintegrityoftime,setting,audioandatmospherewithinamovieisalsoprofuselyimportantintermsofconveyingthesemanticrhythm.Meticulouslytimedfade-out,fade-in,radianceorsmokeeffectswouldallowt

41、heaudiencetofollowthestorymoreattentivelyandcomfortably,anditwouldalsoestablishconsistencyintermsofaestheticsofthemovieitself.ConclusionNomatterhowdifferentthetechnologicalcircumstancesaretoday,andusedtobebackintheancienttimeswhenhumanspaintedimagesoncavesurfaces,humanbeingshavealwaysbeenfascinatedw

42、ithvisualcommunication.Sincethen,theyhavebeenstrivingtosharetheirexperiences,achievements,wishesanddreamswithotherpeople,societiesormasses.Forthesamepurpose,peoplehavebeenpainting,acting,writingplays,orproducingmovies.Incessantdesiretoconveyamessagethroughvisualcommunicationbroughtabouttheinventiono

43、fthecinema,andsincethe18thcentury,ithasbecomeanessentialmeansofpresentingideas,thoughtsorfeelingstomasses.3Danimations,whichweremainlyusedinadvertisements,commercials,educationandentertainmentrelatedproductionsinthe2000s,broughtaboutmanyblockbuster3Dmovies.Whenrecordedwithacamera,thethreedimensional

44、aspectofrealityislost,andturnedintotwodimensions.In3Danimations,theaimistoemulatetherealityandpresenttheaudienceanexperienceasclosetothereallifeaspossible.“Humaneyeismuchmoreadvancedthanavideocamera.infinitesenseofdepthandtheabilitytofocusonseveralobjectsatthesametimeareonlyafewofmanydifferencesbetw

45、eenacameraandthehumaneye.Computer-producedvisualswouldgivethesameresultsasthecamera.Sameaspaintingandphotography,itaimstointerpretthethreedimensionalworldinatwodimensionalform.”Asaresult,3Danimationshavebecomejustasimportantasrealapplications,andthankstotheirabilitytoproducescenesthatareverydifficul

46、t,evenimpossibletoemulate,theyhaveactuallybecomeabetteroption.BigcompaniessuchasWaltDisney,Pixar,andTreeStarhavebeenmaking3Danimationswhichappealtobothchildrenandadultsworldwide.Successfulproductionsincludetheelementsofappropriateideas,decentcontent,combinedwithexpertartistsanddesignerswithtechnical

47、backgrounds.Forthatreason,inordertoestablishgoodqualityvisualcommunicationandmaintaintheaudiencesattention,artanddesignmustgohandinhand.Sometimes,beingtruetoallthefundamentaldesignprinciplesmaynotbeenoughtoachieveanaestheticallypleasingscene.Inordertoachieveanaestheticallypleasingscene,warmthandsinc

48、erity,whicharetypicalattributesofhumanbeings,mustbeincorporatedintothemovie.Themodellingteam,whichfunctionsasthesculptorandcreatesauthenticmaterialslikeapainter,teamsupwithcreativestory-boardartists,andtextureandbackgroundartists,toachieveanartisticallyvaluablework.Inordertoachieveplausibilityandana

49、estheticallyvaluablecreation,itisimportantthatcolour,light,shadowandtexturesusedduringtheprocessaretruetoreallife.Cameraangles,speedanddirectionofmovement,thesequenceofthescenesandtheirharmonywiththeunderscoringareessentialindeterminingtheschematicandaestheticqualityofamovie.Inconclusion,Artdoesnott

50、each.Rather,artpresentsthefullandconcreterealityoftheendtarget.Whatartdoesispresentsthingsastheyshouldbeorcouldhavebeen,whichhelpspeopleattainsuchthingsinreallife.However,thisisjustasecondarybenefitofart.Themainbenefitofartisthatitprovidespeoplewithatasteofwhatthingswouldbelikeiftheywerethewaytheywe

51、resupposedtobeinreallife.Suchanexperienceisessentialtohumanlife.Surely,peoplecannotwatchamoviewiththeschematicoraestheticqualityofitinmind.However,asthemovieprogresses,avisuallanguagesettlesintothespectatorssubconsciousness,creatingasenseofpleasure.WalterBenjaminclaimsthataspectatoranalysingapicture

52、isabletoabandonhimselftohisassociations.However,thisisnotthecaseforpeoplewatchingamovieatthecinema.Rather,thecinemaaudiencecanonlybuildassociationsaftertheyhavewatchedthemovie,thereforetheprocessofperceptionisdelayed.（Benjamin,1993:66）.中文譯文：三維動畫過程中的美學(xué)與設(shè)計(jì)摘要自20世紀(jì)末以來，動畫技術(shù)在生產(chǎn)、廣告、電影、商業(yè)、節(jié)目、視覺效果等方面得到了廣泛的應(yīng)用

53、，并已經(jīng)成為影視業(yè)不可或缺的組成部分。技術(shù)的飛速發(fā)展及其對所有生產(chǎn)行業(yè)的影響，使得計(jì)算機(jī)生成的動畫技術(shù)變得多樣化和普及化。計(jì)算機(jī)動畫技術(shù)不僅節(jié)省了勞動力和資金，而且還可以根據(jù)給定的時(shí)間框架、場景和內(nèi)容，給生產(chǎn)者提供二維（2D）或三維（3D）技術(shù)的選擇。在21世紀(jì)的影視業(yè)，計(jì)算機(jī)動畫變得比以往任何時(shí)候都重要。虛構(gòu)的人物或物體,以及人、事件和地點(diǎn)，無論是困難的，還是昂貴的，甚至是無法拍攝的，現(xiàn)在都可以通過計(jì)算機(jī)建模技術(shù)來制作和生成動畫。如今，有一些行業(yè)正在從這些專業(yè)技術(shù)中獲益。需求和應(yīng)用領(lǐng)域的不斷增加，將美學(xué)和設(shè)計(jì)問題納入了研究的視野，從而為應(yīng)用過程引入了新的觀點(diǎn)。不可避免，3D計(jì)算機(jī)動畫為藝術(shù)和

54、設(shè)計(jì)領(lǐng)域增添了新的一面，并提出了這種設(shè)計(jì)中的藝術(shù)和審美價(jià)值問題。關(guān)鍵詞：三維，動畫，美學(xué)，圖形，設(shè)計(jì)，電影引言幾個(gè)世紀(jì)以前，古代人不僅通過在洞穴表面上畫靜止的圖像來表達(dá)自己，而且還嘗試通過繪畫來傳達(dá)關(guān)于時(shí)間和事件的示意，這后來有助于確立歷史事件的自然進(jìn)程。這種活動極大地推動了動畫和電影史的發(fā)展。動畫的第一個(gè)例子可以追溯到大約四個(gè)世紀(jì)以前，它代表了電影史上的里程碑。埃德沃德邁布里奇用多個(gè)相機(jī)拍攝了好幾張照片（圖1）,并將多個(gè)單個(gè)圖像組合成一幅運(yùn)動畫面，還發(fā)明了名為動物實(shí)驗(yàn)鏡的電影放映機(jī)，在1887年舉行了投影，他也被認(rèn)為是早期電影放映機(jī)的發(fā)明者。在這方面，法國人路易斯和奧古斯塔盧米埃爾兄弟經(jīng)常被

55、譽(yù)為發(fā)明第一部電影和電影攝影的創(chuàng)作者（1895）。圖1.埃德沃德邁布里奇的第一部動畫圖片詹姆斯斯圖爾特布萊克頓清楚地認(rèn)識到，動畫電影可能是正統(tǒng)的真人電影之外的可行的審美和經(jīng)濟(jì)工具。特別是，他的電影鬧鬼的旅館（1907）包含了令人印象深刻的超自然的鏡頭，讓觀眾和金融家們相信動畫電影有無限的潛力（韋爾斯，1998：14）。法國人埃米爾雷諾發(fā)明的“活動視鏡”是與電影有關(guān)的工具之一，它被及時(shí)地發(fā)展和改進(jìn)，從現(xiàn)代意義上來講，這種發(fā)明被認(rèn)為是動畫電影歷史的開始。20世紀(jì)初，通過手繪動畫技術(shù)制作的動畫電影非常受歡迎，動畫電影歷史是以世界上最知名的卡通人物為標(biāo)志，這些卡通人物是通過動畫制作的，如小尼莫（191

56、1），恐龍葛蒂（1914），盧西塔尼亞號（1918），小紅帽（1922），不來梅的四個(gè)音樂家（1922），米老鼠（1928），白雪公主與七個(gè)小矮人（1937）。德國的納粹政權(quán)產(chǎn)生了幾部重要的動畫電影作品。當(dāng)戈培爾不能再進(jìn)口迪士尼電影時(shí)，他委托所有動畫工作室開發(fā)戲劇卡通片。在此之后，漢斯費(fèi)什柯森開始制作動畫電影，在戰(zhàn)爭結(jié)束時(shí)，他創(chuàng)作了一千多部卡通片（莫里茨，2003：320）。在合適的時(shí)候，動畫電影越來越受歡迎，產(chǎn)生了新的和相當(dāng)大的產(chǎn)業(yè)，并隨著技術(shù)的進(jìn)步持續(xù)擴(kuò)展。自此，計(jì)算機(jī)產(chǎn)生的作品在20世紀(jì)80年代蓬勃發(fā)展，成為了現(xiàn)代影視業(yè)不可或缺的一部分。美國動畫電影阿拉丁的全球票房超過4.95億美元，代

57、表了美國動畫產(chǎn)業(yè)的成功，這導(dǎo)致了針對成人的動畫電影得到進(jìn)一步發(fā)展（艾登，2010：110）。像美國一樣，日本在動畫電影方面也同樣非常出色。繼第一部日本動畫（動漫）白蛇傳（1958）（圖2）獲得成功，在威尼斯、墨西哥和柏林的電影節(jié)中獲獎(jiǎng)后，日本的動漫變得如此受歡迎，導(dǎo)致了在國際上的連續(xù)成功。例如，這部名為千與千尋的電影獲得了奧斯卡最佳動畫片獎(jiǎng)，并成為當(dāng)年柏林電影節(jié)的最高獎(jiǎng)項(xiàng)得主。隨著他們在動漫制作上的日益成功，日本成為歐洲和美國公司最想合作的動漫產(chǎn)業(yè)中心之一。圖2.白蛇傳（1958）三維動畫動畫技術(shù)的發(fā)展，其過程可以追溯到18世紀(jì)，帶來了動畫流派的主題變化今天，基于漫畫、木偶、定格、投影、裁剪和

58、延時(shí)的動畫技術(shù)，既可以手動應(yīng)用,也可以基于數(shù)字技術(shù)。此外，在1976年的電影未來世界中使用3D計(jì)算機(jī)圖形，為這項(xiàng)技術(shù)在各種行業(yè)中的高需求開辟了道路。3D動畫在電影、電視、教育和視頻游戲方面都占據(jù)著重要地位，它們的創(chuàng)作過程無論在現(xiàn)實(shí)還是超現(xiàn)實(shí)中都是不受限制的。這種具有魔力的新媒介使不可能成為可能，違背了物理學(xué)規(guī)律G&kgearslan，2008：1），為設(shè)計(jì)師和藝術(shù)家打開一扇無限的想象之門?！疤貏e是在八十年代的電影中，計(jì)算機(jī)輔助的動畫效果最終成了救星，電影動畫終結(jié)者2（1991）首次使用3D動畫技術(shù)，受到了觀眾和影評人的好評”（卡巴，1992：19）。玩具總動員（華特迪士尼影片，1995）因其劇

59、本、人物、背景和動畫技巧而廣受各年齡段觀眾的喜愛，是歷史上第一部完整的3D動畫長片，之后是兩部續(xù)集。借助于來自本土的支持和形式化的現(xiàn)實(shí)格式，迪士尼角色躋身于動畫角色之首。為了實(shí)現(xiàn)逼真的制作，迪士尼甚至在工作室里飼養(yǎng)動物，如馬、鹿和兔子，而藝術(shù)家們則研究它們的形態(tài)、動作和行為。至于人物特征，聘請了著名的電影明星作為人類形體和行為的參考點(diǎn)（Gokgearslan，2009：80）。另一部美國電影怪物史萊克（2001）由威廉史塔克創(chuàng)作的，他的書怪物史萊克（1990）是夢工廠電影制作的3D動畫電影的基礎(chǔ)，吸引了數(shù)百萬人。這部電影是強(qiáng)大的想象力和現(xiàn)實(shí)設(shè)計(jì)的巧妙和美觀的組合的一個(gè)很好的例子。此外，通過某些

60、對話和笑話，“價(jià)值判斷”的主題被簡化了，也能被兒童所理解。這些都是兩個(gè)不可否認(rèn)的因素，有助于電影在全球范圍內(nèi)的成功。最成功的3D動畫電影是美國制作的。預(yù)算、歷史和政治因素，以及語境和文體因素，在促成電影的簡潔和清晰方面，其重要性毋容置疑。“攝影后電影的時(shí)代到了，很明顯，對于動畫師來說，電腦本質(zhì)上是另一支鉛筆?？梢哉f，這在皮克斯的怪獸電力公司中達(dá)到了頂峰。因此，值得注意的是，雖然歐洲也和俄羅斯、中國、日本一樣，保留了傳統(tǒng)的導(dǎo)演主創(chuàng)論電影制作，而美國經(jīng)常沉浸在其動畫特效的傳統(tǒng)中，并將其作為真人電影的附加部分。”（韋爾斯，2002：2）三維動畫的美學(xué)與設(shè)計(jì)無論是低預(yù)算的3D動畫電影，還是高預(yù)算的3D