论动画电影《我在伊朗长大》视觉元素的审美价值  

On the Aesthetic Value of the Visual Elements of the Animated Film Persepolis

作　　者：鲍铭莹[1] BAO Mingying(College of Fine Arts and Design,Wenzhou University,Wenzhou,China 325035)

机构地区：[1]温州大学美术与设计学院,浙江温州325035

出　　处：《温州大学学报（社会科学版）》2020年第3期67-73,共7页Journal of Wenzhou University：Social Science Edition

基　　金：国家社会科学基金艺术学项目(19BC030)。

摘　　要：视觉传达是艺术美学的重要内容。作为传统艺术内容与现代制作技术结合产物的动画电影,如何有效规避艺术创作的"技术主义"路线,回归满足主体审美需要的本职是当代动画影视艺术发展面临的一个热点问题。树立"以人为中心"的创作理念,以朴素、简约、经典的视觉传达元素进行有效的审美传达,是一个值得坚持和践行的影视艺术创作路径。动画电影《我在伊朗长大》通过纯粹的色调处理、简约的构成形式以及插图质感与符号张力的审美呈现等简单的创作手法,突出基本视觉传达元素在新艺术载体中进行审美传达的效用,对把握视觉审美传达的基本规律和路径、解决"技术泛滥而审美价值式微"的中国动画影视艺术创作现实困境,具有重要的学理价值和实践借鉴。Visual communication is an important content and means of artistic aesthetics. As the product of combining traditional art content with modern production technology, contemporary animation film and television art is faced with the issue of how to effectively avoid the "technicalism" route of artistic creation and return to the duty of satisfying the aesthetic needs of the subject. To set up the creation concept of "people as the center" and to carry out effective aesthetic communication through plain, simple and classic visual communication elements is a film and television art creation path worth adhering to and practicing. Animated film Persepolis, by such simple techniques as pure tonal processing, simple form, and the aesthetic rendering of illustration texture and symbol tension, gives prominence to the aesthetic communication function of basic elements of visual communication in the use of new art carriers. It has important theoretical value and practical reference for grasping the basic rule of visual aesthetic conveyance and path, and solving the predicament of "technology proliferation and aesthetic value decline" of Chinese animation film and television art creation.

关 键 词：动画电影 视觉元素 审美价值 

分 类 号：J91[艺术—电影电视艺术]