超越自我之像:瑞典动画纪录片的语境及发展  

Beyond the Self-images: The Context and Development of Animated Documentaries in Sweden

作　　者：米德哈特·阿扬·阿加诺瓦克(著) 郭春宁(译)[2] AJANOVIC Midhat Ajan(UK);GUO Chunning(Trans)(The University West in Sweden/University of Trollh ttan,Sweden;School of Arts,Renmin University of China,Beijing 100872,China)

机构地区：[1]西瑞典大学/特鲁尔海坦大学,瑞典 [2]中国人民大学艺术学院,北京100872

出　　处：《重庆交通大学学报（社会科学版）》2019年第6期27-35,共9页Journal of Chongqing Jiaotong University:Social Sciences Edition

摘　　要：新千年的前几十年迎来了纪录片的某种复兴,特别是将真人实拍和动画影像相结合的纪录片,乃至完全通过动画呈现的纪录片。除加拿大和英国外,瑞典成为多产的动画电影国度,其动画电影特色正是纪录片与动画的融合。界定动画纪录片;框架式地梳理瑞典的动画和纪录片历史,强调其为后来动画纪录片发展提供的基础特征;关注动画纪录片制作和社会背景因素,分析动画纪录片为什么成为瑞典动画界的一个突出特征,并列举具有代表性的瑞典动画纪录片作品和电影人。It seems that the first decades of the new millennium has brought a small renaissance of documentaries,especially those that combine live action and animated pictures and even those visualised totally by employment of some animation technique.My concern in the following essay is a conspicuous propensity in Swedish animation toward animated documentary.In my view Sweden is the country that,besides Canada and Great Britain,has developed the most prolific production of films that merge documentary purposes and animated imagery.The essay is composed of three parts.In the beginning I am going to define animated documentary,as I understand it.Swedish animation and documentary history is roughed out in the second part of the text putting emphasis on certain features that might be the base for the development of the animated documentary.Finally,the last part focuses first on some factors in its production and social background that,at least partly,explain why the animated documentary is a prominent feature on the Swedish animation scene and,lastly,I point up some films and filmmakers that eminently represent the genre.

关 键 词：类型 动画 纪录片 瑞典 

分 类 号：J954[艺术—电影电视艺术]